Ni siquiera las flores

"The months of lockdown forced many of us – or gave us the leisure – to observe what was going on around us. Turning her camera to the outside and her microphone to the inside, Mariana Viñoles took advantage of this strange moment in time and let it unfold. A series of daily conversations with her two children, held off-camera, give the viewer a glimpse into her home life. In the street, right in the middle of the fixed frame created by her windows, stands a rubbish bin. "Something is going on," when suddenly a man decides to slip inside, recalling Samuel Beckett's characters Nell and Nagg, who in Endgame each live in a dustbin. Children play. The rubbish is collected. The edges of life are made tangible by the regular passing of hearses, adorned with flowers. Reminiscent of Tishe! by Victor Kossakovsky (2003), the organic editing allows time to pass naturally. We witness the subtle tipping point between the banal and the poetic, an incipient tenuous beauty allowed to bloom through the act of persistent observation."
(Cloé Tralci - Visions du Réel)

"Mariana Viñoles postiert ihre Kamera an ihrem Fenster. Als wäre es eine kleine Guckkastenbühne, sehen wir, was sich trotz Lockdown in ihrer Strasse alles abspielt, und welche verborgenen Geschichten noch zu erzählen sind. Im Off zeugen Alltagsgespräche von einem ganz normalen Haushalt. Wir sind eingeladen, sie weiterzuführen und über die magische Kraft der Beobachtung zu staunen."
(Visions du Réel)