Text by carlier | gebauer & Diego Trerotola
El camino entre dos puntos (The way between two points) investigates Patagonia’s tainted nature. Here, where throughout the 20th century ever enhanced methods of oil recovery, have transformed an amorphous, ambivalent and hardly populated landscape into an uncanny site of man’s supposed mastery of nature, the film traces the ways of a man, who wanders the scenes aimlessly, bound by his own implication in the menacing mechanics of oil production but drawn physically to their coevally proceeding erasure by the rough and untamed nature of this seemingly self-subsisting land.
Even if the title suggests a synthesis of the story that would take it back to its most basic, abstract logic, that´s not necessarily the path chosen by this film. Because, first of all, the action takes place in a very concrete and defined territory: Patagonia; and it conducts a deep exploration of that landscape by using audiovisual resources in the most liberating way. But, also, because in the film there is a wandering character who sets an itinerary that, rather than accumulating incidents, goes for an adventure that’s free from conventional limits, even those of minimalist portraits. However, Sebastián Díaz Morales’ film doesn’t rest at all on the beauty of the landscapes; instead, it leads to junctions that range between realism and strange performances, from aerial traveling shots to extended fixed ones, from visual and verbal poetry to unaffected descriptions. In the end, those crossroads are where the film finally manages to find its vanishing points.