Can Limbo

One of the biggest attractions of Can Limbo lies in the ability to thread organically the chorus of voices, memories and news that, in the way of an audiovisual palimpsest, make up its –only– plot. The music, from Bach to the famous version of El cant dels ocells in arrangement and interpretation by Pau Casals, without detriment to the rehearsals and home concerts starring Baus himself and his family, permeates the entire film. Thus, the tempo is the guideline of structural development and expands with the cadence of a correspondence between loved ones but who are distant. Its crack, in addition to Chile and Catalonia, also splits the past and the present, in a poetic sway -with political resonances- that is articulated, fundamentally, through voice. A voice that recites, tells and evokes: other lives, other times, other ways of approaching experience and the links between all of it. Even other films, such as La celosía (1972), by Isidoro Valcárcel Medina. RAMÓN DEL BUEY