Episodic erotics and generic structures in Ventura Pons’s ‘Minimalist Trilogy’
David Scott Diffrient
Spanish film is today recognised as one of the world's most dynamic sites of cultural intermixing and convergence, not to mention a testing ground for narrative experimentation. Ventura Pons's first entry in his Minimalist Trilogy consists of fifteen episodes, or rather thirteen vignettes framed by a prologue and an epilogue. It self-reflexively foregrounds the enunciative act, the putting-into-words of personal desires. This chapter examines some of the aspects of Carícies that distinguish it from Pons's other entries in his Minimalist Trilogy. It explores the thematic profundities of the intricately plotted, episodic features of Catalonian experience and reinvigorating narrative form. The staged encounters between two people in each of the eleven episodes comprising Ventura Pons's Carícies effectively illustrate the structural machinations involved in linking up one section of the film to another. If Spanish cinema has been marginalized, Catalan filmmaking has been doubly marginalised.