PROTO stems from an interest in the past, in origins. What lies behind, not only in time but also in space, what cannot be seen. The choreography implicit in the articulation of language, the primary materialities of cinema and the bodies and movements that make it possible. What comes before light allows us to see, when it only blinds us. What comes before movement, that impulse, that direction, that meaning.

The film starts with the relationship between four people and the space they occupy. There, they perform different actions such as reading texts, interacting with objects, creating visual and sound effects, etc.

Through the texts they read, a dissemination of the semiotic exercise and film language takes place, in the form of a poetic essay, relating its constituent elements (movement, light, etc.) to the primary elements, as well as to the possible origins of language and image and the material and bodily implications that make them possible.

How many bodies and how many movements are needed to set the image in motion? How do these bodies affect and are affected by each other? How far do we feel our bodies and matter from the apparatus of representation? Can we approach it from another angle? From closer? From within?