Yonay Boix

The documentary portrays the everyday way of life of a group of young people from Quito, who being fans of hardcore and for different personal reasons decided to become Straight Edge. The Straight Edge is an urban culture, young people who together or separately make the decision not to consume psychotropic substances, alcohol or tobacco.

Ten twenties. Five girls and five boys at the height of youth, when the distance is starting to make out adult life. Pieces of life captured in short sequences in different scenarios, and not follow any narrative structure. Amanecidos are the pages of a diary or a photo album open to chance. These are memories that come to mind without warning. A story that beats as strongly as its young protagonists.

Lily, despite being an architect, dedicates her August nights to handing out flyers in a Madrid bar. She loves appearing to be who she is not, she is strong, independent and friends are not lacking.

What can you do when you can’t make a film? Make another film. Hanging out with the camera shooting whatever comes to mind is the escape route for a couple of filmmakers who are waiting for their respective projects to gather funding to be carried out. There is nothing planned, just improvisation and the joy of making a film with total freedom, and only one rule: to respect the chronological order of shooting in the editing.

3 x super 8mm (digital), color, silent.

Super-8mm film by Yonay Boix & Ariadna Onofri.

super 8mm, b&w, silent

super 8mm, b&w, sound

Super 8 / 18fps / silent / in-camera edited Kodak Tri-X

Super 8 / 18fps / silent / in-camera edited Kodak Vision3 50D

Super 8 / 18fps / silent / in-camera edited Kodak Vision3 200T

Super 8 / 18fps / silent / in-camera edited Kodak Vision3 500T

Super 8 / 18fps / silent / in-camera edited Kodak Vision3 200T

Super 8 / 18fps / silent / in-camera edited Kodak Vision3 200T

Barcelona, Christmas 2019 with epilogue in Berlin. Silent. Kodak 500T

The fifth cartridge exposed by Yonay Boix’s super 8 camera offers a continuation of the author’s filmed journals that he carefully composes frame by frame, exploring the potential of celluloid and in-camera editing. This time, the leitmotiv is either a spot of light or a dark spot that he generates using a pierced piece of paper and a glass filter onto which he has previously painted a black dot, respectively. These procedures trace back to the mechanisms of early cameras, reminding us that what we see is not the world but the glimpse of it that a contraption was able to catch.