Among its emblems, our society hoists the one of sex expressing itself. Surprised sex, interrogated sex, which at the same time is constrained and loquacious, answering in an unexhausting manner. One day, a certain mechanism, marvellous enough to make itself invisible, captured it. And in a game where pleasure mingles with the involuntary, and consentment with inquisition, it makes sex tell the truth about itself and about others. Masked in the discourse of sex, there is in the monologue of the hero of « Bilbao » and incessant need for the truth : it is up to us to bring forth his truth, for he ignores it ; it is up to him to tell us about our own truth, for in the shadows, it is he who possesses it. A meeting and an exchange could happen in a room where the spectator, locked up with an only toy, sees projected before him a box of surprises (such as that of the oriental in « Belle de Jour ») which is named Bilbao. For a cinematography like that of Spain, which has an odor of sacristy and which is limited to a parish priest imagination and the sensitivity of a church hen, there is no doubt that a film such as Bilbao, which gives off a smell of incense rather than cheap perfume, can save us from the extreme onction thrown on so many national sins (and guns). Enrique VILA-MATAS
Born in Barcelona in 1946, he founded in 1968 the design studio « Gris » ; he was art director there until 1974. He was at the same time professor working with the design and communication schools Eina and Elisava, as well as member of the INFAD committee and associated to the ADI-FAD group. His work was exposed at the Dali Museum in Figueras and included in private collections. He worked with José Luis Fabriga Poveda MD to create departments of « Recovery through Art therapy ». From 1972 to 1976, he was member of the « Barcelona Grup », a spanish film export organism that he co-founded. He directed two short films before his first long feature, « Tatuaje » (1976).