“Cinema is not the spectacle of multinationals.
Cinema is not the dictate of specialists.
Cinema is not video recording.
Cinema is not films with beautiful photography, perfect frames, gorgeous scenography, immaculate and conventional sonorisation.
Cinema does not exist without films. But a film only exists on the basis of the visceral decision of who’s making it, regardless of the idiocy of programmers, cultural operators, stupid producers, government officials, bankers, auxiliaries, bureaucrats. Cinema is our films.
Cinema is the negation of technicism, semiologism.
Cinema is a place where you and I recognize each other, “me” and others embrace.
Cinema is all the films not made, yet contemplated in the explosion of existence.
Cinema is the domain of fragile and impossible films.
Cinema is the liberating application of the margins in search of the proper world (cosmos).
Cinema is the space of the accursed and the inebriated.
Cinema is the eternal proposition of being.
Cinema is the social taking place on one condition; let the being and the temporal (cosmic) transpire behind the facade of the cogito.
Cinema is the point of convergence-divergence between the real and the unthinkable, the imaginary and the impossible.
Cinema is this promise-threat, the return of the inconceivable, the audacity of the unexpected.”
– Stavros Tornes, 1977