About the Film

‘Living and Other Fictions’ appears as a crack in the wall of normality. Through that open space to the unexpected, camera and narrative testify to the routine of a life outside the norm, from the intersection of existences that are barely represented in the collective imagination.

However, its exceptionality is not represented by an extraordinary appearance. The action develops in the realm of routine. In the ethos of reality. In life itself.

We open this fracture to talk about life enclosed by power, trapped by common sense. We do it with resources both scarce and desperate, the same kind that fuel intrepid forces alongside the natural experience of living in our own skin.

This fissure doesn’t come out of the blue; it is a continuation of a work that began with ‘El Taxista Ful’, (Jo Sol, 2005), followed by ‘Fake Orgasm’ (Jo Sol, 2010). In both cases politics are presented far away from historical dogmas and democratic processes. The field of politics is drawn around the limit of life itself. The anomaly is shown as the last trench of the political dialogue.

‘Living and Other Fictions’ projects that decay towards places deliberately cut off from the norm while leaving no room for sectarianism. The experimentation of reality from the physical approach forbids farce. The abject body rises as the last line of resistance where there is almost nothing to lose, yet everything to gain.

The idea of understanding yourself as a physical anomaly is, to common sense, like a living organism is to a disease. Nowadays we are, indeed, infected with normality. We shelter behind it in avoidance of living outside our comfortable margins, in order to forget the fragility of our bodies, the fiction of individuality, the cruelty of capability.

However, it is within those margins where the most powerful seeds of theoretical resistance and subversive experiences are being born, in opposition to traditional models.

If the Queer movement, through iconic intellectuals such as Judith Butler or Donna Haraway, redefines the limits of feminism, sexual identities and gender politics, the Crip movement renews the experience of the body in its extreme, answering in a demolishing way to the arguments produced from the logic of “normality”.

This answer is not accidental; it comes in a moment where a revealing and unexpected alliance is emerging around the crippled body. The convergence of cripples, whores, transsexuals, lesbians, and dissident intellectuals, eager to present the revolution of bodies impacts against hegemonic walls, making its way above the hollow horizon of the possible.

Within this context comes the risk of falling in the temptation to hide yourself in an aesthetic inherited from the admirable work of Diane Arbus or Nan Goldin. We deliberately rejected this when it became clear that the current state of show business requires us to attack the anomaly from the inside, not as something external, picturesque or marginal.

Reevaluating the view on body and anomaly dissipates the confusion, as suggested by the philosopher and friend, Santiago Lopez Petit,

“If understanding yourself as an anomaly means not to fit, or more precisely means not wanting to fit in life’s conventional charade, then the political position raised by this interruption opens itself to everyone, creating implied interpellation. The politicalisation of existence doesn’t belong to the outcast despite power wanting to reject them.”

– Santiago Lopez Petit

Due to this, I decided to develop this production, leaving aside the necessity of cinema’s methodical and technical devices. With the realism of a documentary represented by people outside the specific circumstances of my script proposal, yet wholly identified with the sense of the speech that we built together.

This allowed us to work with the spontaneity of an artisan, with the power of an activist, and with a violence that bends any uncertainty.

I vindicate the imperfect result created by amateur cinema (in the etymological sense of being “made with love”) against the apparent neatness of mainstream pieces. I cannot conceive of anything more tedious than applying a narrative formula for an intended result, nothing more contrary to the life I pretend to unleash with every film.

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