Jesus searches for himself in worn-out family tapes: childhood as a place almost entirely forgotten.
Jesús Serna is interested in the image, the periphery of the image, its impurity; writing as a game of mirrors, as rewriting; the labyrinth. as a game of mirrors, as rewriting; the labyrinth.
As ungraspable evidence: his short films Polvo de Hadas (2006), Los sentados (2011) and Hacia el fuego (2011). (2011) and Hacia el fuego (2020); Lo que queda (2017), his first full-length film; and the diptych that reveals his written version of the world, Sunflowers in Venice (2013) and Velodrome (2017).