Summertime I made this short film with the indifference of the sun as the only witness. The beach stretched out, brutal and naked, under the weight of a sky that did not ask permission to burn. The bodies moved like anonymous shadows, consumed by a dance without purpose, while the sea, eternal and absurd, broke against the shore without waiting for an answer. Each frame captured that hostile beauty, the contrast between the blinding light and the traces that the water erased without remorse. Everything I filmed seemed alien to me, even my own presence, as if summer were a god that laughed at our small passions. Reel I filmed these images in the city that, under the weight of winter, becomes silent. The shadows, sharp and long, move across the empty streets like a soft threat. People move with the precision of a clock, each step an echo of the others, their faces hidden beneath coats and scarves. The city doesn't breathe, but it keeps functioning, like a machine that, though not in a hurry, never stops its march. In the cold, there is a certain calm, as if everything were in its place, waiting for time to pass without urgency. La conséquence de l'amour  To understand composition in cinema is to immerse oneself in the invisible architecture that holds the meaning of the image. It is to grasp that each shot is not merely a cut in time, but a crack where the anguish and silences of the soul are reflected. Composition is the geometry of thought, the way light and shadow converse without uttering a word. This short film was made with the purpose of teaching this discipline to those who dare to look beyond the frame. In it, the tension of the image unfolds in every corner, where the visible and the hidden embrace in an endless dialogue. The cameras were operated by Enrique Berduc, Cristian Albarenga, and Marina Lisasuain. With a special appearance by Irene Weinzettel. The direction was led by Mariano E. Rodríguez. The editing was done collaboratively.