"White Screen starts with the idea that perception is a worldmaking ability. It is simple: a change in the lens’ focus can either allow us to see a tree or a forest, and brings an understanding that these two things exist simultaneously. Then we see a woman (Martos) tying a rope between the trees. Slowly, she makes a cinema space materialize, as she drapes a sheet over the rope. While the night takes its time to fall, the film explores the screen as a new part of the landscape (perhaps something that exists between the tree and the forest) ..." — Lucía Salas

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