The first film of the trilogy “discommunication” introduces the viewer to the narrative methods and film language on which the following films will be based. In a short essayistic form, images appear that are redefined when they come into contact with the text. The impossibility to speak, to agree, to understand oneself or someone else generates reactions for which the existing language is insufficient to describe. In trying to express this “intralinguistic transgression” on the screen, one must inevitably resort to abstraction. The transition from the object world to the non-object world seems to me to be one of the few ways to come closer to conveying these states.
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