A 8mm work disintegrated and re-integrated; a piece of "found footage" dug out of a flea market full of moisture and fungi, full of life born out of death. The film is projected simultaneously on two 8mm projectors and manipulated in real time by burning frames and spraying bleach water on them live. The only digital editing was cutting out the parts that in my opinion were uninteresting and inverting some of it. ‘Abusus non tollit usum’ enters a projector as it is and comes out again through the other one impregnated in bleach and burnt, so it dies on one side and comes back to life again on the other. It is creation using destruction as a means. Sometimes the images feel the need to play in synch but immediately they become independent again and time and space become relative. The sound composed by Xoán-Xil López interprets the images as a spectator, the first spectator.

Cris Lores
Born in Pontevedra in 1975, He started making movies in the 1990s with a super 8 camera and a Hi8.
Cris Lores also trained as a film projectionist. He has been screening films at the Cineclube de Pontevedra since the turn of the millennium, a fact that changed his conception of cinema as a spectator and as a manipulator and creator. He has worked in almost all film formats: 8mm, super 8, 9.5mm, 16mm, 35mm and 70mm. And also, in collaboration with Belen Veleiro, in the field of expanded cinema.
Has collaborated in the soundtrack of a lot of films from the Novo Cinema Galego. For example, his music has a special presence in A Pedra do Lobo (Alberte Pagan), as well as in O proceso de Artaud (Ramiro Ledo).