THE NAUGHTY ARTS’

MOTION PICTURE
STORY-LINE
ACT I
Francis has a knack for drawing since early childhood. His parents encourage his
talent sending him to the most reputable art schools in Madrid. Their home is kept
like a little museum full of classical pieces wich Francis copies tirelessly as he grows
up.
At nine years old, Francis participates in group exhibitions, showing his charcoals,
and at age thirteen he unveils his first solo exhibition, an outstanding series of oil
paintings.
Francis discovers the hyper-realistic artwork of the
painter Antonio López Garcia, who sets his course as an artist.

spanish

master

Before entering college, Francis is discovered and hired in exclusive by the
reknown art dealer, Kahnweiller. Despite his early success and fortune, maintains an
orderly life happily living with his fianceè Bianca, a young pianist with whom he’s
expecting a child.
Abruptly, Francis suffers a temporary, inexplicable blindness.

ACT II
Though the optimistic diagnosis, Francis disregards the ophtalmologist
recommendations about rest and sleep, shutting himself away in the studio with his
assistant Mauro to desperately find out how to paint without watching, totally
swayed he’s gonna get blind.
‘BLIND PAINTING’

 

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Francis becomes obsessive, disgusting, misanthropic and turns out Bianca from
their home. Francis mother, Manuela, welcome her.
Although Francis and Mauro develop many interesting approaches to blind
painting, the process prove useless and threats Francis’ sight’s health, ending with his
collapse during a series of self portraits from realism to abstraction (as Mondrian did),
using the sight, mirroring his own vision and identity destruction, just like happened
in the Artistic Avant-Gardes in the early 1900’s, finally versioning the legendary
Malevitch’s ‘Black on black’. Nihilism. The first death of painting in occidental
history, and in Francis’s too.
‘CRETE’
Since blindness, Francis has recurring dreams of an alluring island where he
dreams himself as a pre-Minoan child who lives in a cave in an island by the sea,
depicting in its walls all the aquatic life, but from memory, on the contrary that
Francis, his dreamer, always had.
Francis’ oneiric alter-ego is none other than Ulysses in the island of Crete,
according to the Greek writer Kazantzakis’ poems about the Trojan hero, a peculiar
aftermath about Homer’s ‘Odyssey’ wich has all to do with Francis’ particular
journey.

ACT III
Amazingly, Francis awakes from the collapse revitilized in the cheerful studio of
his old friend Mike, a fellow painter who brings new points of view to Francis with
his luminous expressionism painting and personality, and convince him to rest and
look after himself once and for all. Life is before art, Mike sentences.
Francis visits his old friend and professor in the Faculty of Fine Arts, Christina,
whose Art History lectures keep on mirroring Francis as a symptom and symbol of
sick contemporary art ‘which has drifted into unintelligible languages and codes, more
and more commercial, reproductible, narcissistic and meta-linguistic, further every day
from mankind, nature and sensousness‘. The Image had sadly become the absolute truth
in modern society.
Christina strongly encourages his students arrive ‘back to painting, back to the
Body, back to the physicality of the canvas and the studio’. She recommends to arrive
back to Ithaca, as Homer’s Ulysses, or even better to Crete, as the particular Ulysses of
the her beloved poet, Kazantzakis.

 

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JOAQUIM or the ‘BLIND COOKING’
Christina features Francis a famous chef, Joaquim, a cynical and controversial
genius, self-proclaimed 'feelings designer', an excessive and theatrical character,
who teaches him the curious art of blind cooking but also introduces him to a
world of excesses and outrages that Francis will be unable to avoid, abducted by the
overflowing Joaquim personality, and also dazzled by the amazing artistic
progresses wich he reports from its dubious relationship with the chef, based on the
surrealist game Exquisite Corpse, sharing ideas from cooking to painting and
viceversa.
Irretrievably came infidelities and infamies, follow a robbery, culminating
in a murder which Francis committ unavoidably pushed by the chef:
-…just as Caravaggio did, Francis. -Joaquim whips him up-. There is much
more to painting than hanging fabrics on the wall...
***
Wacked and convinced that he has achieved something for art history, Francis
gathers for a late-night meeting in his studio with all his friends and relatives to show
them his Blind Paintings and Exquisite Corpses. No one can believe their eyes...:
Francis had not only turned to convulsive Figurative Expressionist painting and
plagiarized several famous painters’ styles –including some painting tics of his
friend Mike’s-, but also portrayed in his two megalomaniac canvases all his felonies
along with Joaquim, with harmful realism, including straight and tough images
didn’t shown before to the spectator, and also the unfortunate murder. They all get
devastated…
Pan had dismembermed Dionysius, lord Henry had poisoned Dorian
Gray. Joaquim has raped Francis’ mind and soul.
***
Unexpectedly, a TV program shows Francis’ latest work at a famous international
art exhibition. ‘The realist has become a cross between Basquiat, Tápies and Damien
Hirst’, said the reporter. Exactly the kind of painting he always hated. Moreover, he
made some of these works by incorporating many of the items stolen in the recent
robbery along with his ‘brand new art-dealer and curator, Joaquim, the chef.’
‘Great controversy’, said the reporter, ‘scandal, hoodwinking and surrealism
reminding the Duchamp’s Armory Show exhibition in New York in 1913.’

 

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Sold out. Apotheosis party with seedy celebration. In spite of his newfound
professional success, Francis’ soul is deeply sick, just like his eyes, very close to
blackness. Overdozed, Francis collapses in coma, just like a damned rock star, in the
middle of the street.
***
Francis lay unconscious at some hospital. Silence, whiteness, sadness, despair…

EPILOGUE - ‘BACK TO PAINTING’
A huge canvas in an apealing beach. We see Francis’ painting the seascape with
Bianca and their baby swimming in the shore with his lifelong realist painting style.
It’s the beach of his dreams, in Crete. Francis’ got back to painting, back to reality,
to nature, physicality and sensousness. Life is definitely before art. Francis wears
lenses, several gray hairs speckles his scalp and beard. Is a female baby, Ariadne is her
name.

THE END

 

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