Confessions Among Actresses

There is no role here that needs to be grasped and played; there was no past before the arrival of the camera that needed to be experienced; there will be no end of filming that delimits. There has always been and is the role that I have played, without knowing that I would one day have to accept it as my own past - the aesthetic finesse of decentralizing characters within the composition of the shot refers to the decentralization of human consciousness in the hierarchy of the world, which instead of a sorted reality with humans in a privileged position encounters the reality of the fictional world, which refuses to be just an extension of these self-deceptions. Therefore, enjoying the invasion of the camera into the shots in moments when the actress's life is indistinguishable from her role, this film creates a situation in which reality and fiction are not only inseparable but individual egos are not separate either. Instead of separate instances of time and characters, we have analepsis and prolepsis of a single unsorted time of the subject, which must continuously painfully form itself, and this formation is as decentralized as its own camera shot and its own consciousness in front of itself as a stranger, into whose role it is necessary to immerse. This new continuity of time of interweaving strangers in the body of one's own self evokes film editing, which through cinematographic psychoanalysis erases the differences between characters A and B and playing with the spatiotemporal codes of conventional editing allows the viewer, enslaved in the channels of standard cognitive processes, to be surprised by how smoothly one can transition from one character to another, from one narrative line to another. (12/02/2022)