X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.

Something strange appears outside the window. Months later, a pregnant woman and her boyfriend are visited by a mysterious figure who has many questions.

The film consists of three sequences shot by a fixed camera: the first shows the balcony of a hospital with patients (soundtrack from the film "Vivre sa vie" by Jean-Luc Godard), the second is a scraped wall and the third is a crossroad with pedestrians and cars (sound taken from the film "The Time-Machine " by George Pal).

FUDDY DUDDY uses the motif of the grid to blow it to pieces. Being occupied with structural film, I repeatedly draw 'frame plans', using grid structures to precisely record the succession of individual images. To me, this sometimes seems like a search for structures in an apparently chaotic world. The medium of film fulfils the need for orientation. (Siegfried A. Fruhauf)