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 travelling 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.
The alluring images in his films speak clearly for themselves, for they usually lack of dialogue. This aspect lets the artist give the audience all they need to create their own individual and personal story, without imposing any set structure. The video installation Oracle alternates a series of apparently random images that are not linked one to the other. They just follow on, like the tesserae in a mosaic that is still to be completed. The title seems to allude to the tradition of the Greek Oracle as a source of wisdom and prophecy, capable of offering a vision of the future through a combination of elements from the present. A plastic bag moved by the wind, a solitary man staring at the sea, and a solar eclipse are just some of the images that appear on the screen as propitiatory signs, and with which the audience can create their own free response.