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Ana Lua Caiano / Margarida Honório / Maria Camilo

In the Wim Wenders’ movie The State of Things (1982), a director unexpectedly runs out of film, while filming. For days that become weeks, the film crew awaits for news. What is going on? Will the movie ever be finished? During this wait, they find ways of passing the time, creating drawings, photos, music, texts, among others. The movie does not have a narrative filled with events; it is not the classic example of a structured story, with a beginning, middle and end. In The State of Things everything happens when nothing is happening. Many dialogues conduct us to the eminence of death, an ending foreshadowed by some characters.

Death prints on human beings the idea of time and it is time that allows us to understand the idea of waiting: the undetermined time during which the crew wait without knowing the future of the movie they started; the undetermined time that goes by while we wait for something to happen. Waiting is synonymous with living in a movie where you live waiting. We seem to be constantly waiting for something, which leads to another wait. We wait for the bus, in the bus we wait to get to the right stop, when we get there we wait to get home, at home we wait for dinner to be ready, then we wait until it’s time to go to bed and eventually, to fall asleep.

In another way, the improvements in science often have the goal to avoid death or postpone it. This attempt to fight death or to delay it, emphasizes the fear of death. Technology often creates possibilities without fully considering its consequences, and throughout the centuries we seem to be leading the way to a new destiny for humanity: immortality.

These were the mottos to build a parallel world: a window to a week in an immortal’s life.

In five episodes, each representing a day in the life of someone who will never die, we will witness voyeuristically a decisive moment: the loss of a dear object.