The exhibition The Complete Letters features epistolary works defined by cinematographic creation. This is an experimental communication format used between pairs of film directors. Although each director is situated in a location geographically distant from that of their partner, they are united by their willingness to share ideas and reflections on all that motivates their work. Within this space of freedom, the directors featured in the exhibition examine their affinities and differences, within an environment of mutual respect and simultaneity of interests and with notable formal variants established in each of the correspondences.

The works that we present in The Complete Letters constitute an innovative cinematographic format, where filmed ideas are exchanged between great dyads of filmmakers: José Luis Guerin (Barcelona) and Jonas Mekas (New York); Isaki Lacuesta (Girona) and Naomi Kawase (Nara); Albert Serra (Banyoles) and Lisandro Alonso (Buenos Aires); Víctor Erice (Madrid) and Abbas Kiarostami (Teheran); Jaime Rosales (Madrid) and Wang Bing (Shaanxi); and Fernando Eimbcke (Mexico City) and So Yong Kim (Pusan/New York).

The aim of the exhibition is to show every aspect of the power of the screen: seduction, spectacle, creation of archetypes and models, information, communication, shock factor, interactivity, surveillance, etc. It is a power that technological advances serve to renew, increase and diffract from the initial format, the big cinema screen, to today’s proliferation. Screens that are present everywhere, at all times, screens that allow us to see and do everything: TV screens, video screens, touch screens, spy screens—interactive, recreational, informational... The screen has become a constituent element of hypermodern societies.

The exhibition also sets out to show how this power has gone from the big screen of the cinema to all kinds of digital screens, imposing its model: the cinema model or cinevision, a worldwide phenomenon, creating a world made up of screens and screens that create the world.

Independently of cinevision, the screen has also become the gateway to the world. It is not only aspects of everyday life that happen on screen; relations with the city, culture and knowledge are also conditioned by what screens contain and convey. The phenomenon is all the more powerful because it is globalized and instant: the screen not only creates another, illusory, spectacular world, it actually gives us access to it.