A sailing trip, thwarted, taking leave from then landing back at the Canary Islands, cross-referenced with a movie, ‘Dead Calm’. This be the bone structure of the film, which opens with the building of a set, or, to be precise, of a rather ad hoc ship – the ship being a dummy model of sorts. A suave voice-over narrates the breakdown of the journey – one sole voice for two points of view, of both makers of the film.
“The floating microcosmos starts functioning again” – and there’s a cut, and transposition, from hand-held camera shots on set and restless montage, to an actors’ scene, steadily shot on HD.
A sail gets ripped in a storm, and there’s the thinking, before it becomes real, of a lifeboat. The fabrication of a lifeboat, some buoy. There is dread, and calm. There’s GPS and satellite, but just as much, the relief of a port of call.
“Time stood still in the boat, being back to its normal state of chaos, and everything was almost burning underneath the sun. In search of shade I gradually diverged from the false reality of the harbor and the boat. From there I understood that I was not prepared to offer my body in a fight with no benefits.”
So it’s not about sailing, or boats, really. Or, that’s one dimension only. Existential and by extension philosophical impulses get stirred. Game theory seems too simplistic an abstraction. Even so, issues of authority, decision-making and trust become a lived experience. And go reflected in a pool of infinities vast as the ocean.
“In my resignation I couldn't come up with any better place to be, but I felt pushed to leave this spot. I was afraid that one of them would come back and would try to pull me into a conversation, about how each one of them felt right now and why things came as they did. The frustration that we weren't able to get it together was making me mad. I couldn't accept that compromises would get us nowhere and that the boat was too small to fit our three egos.”