No es homosexual simplemente el homófilo sino el cegado por el falo perdido, 2016

The screenplay contains most of the subjects later developed in Cardín’s theoretical works and can be considered a historical document of the Spanish Transition, at the time of the first political reform bill leading to the election of the first democratic president of Spain after the Franco dictatorship. It is an accurate reflection of this important moment and an early example of what years later would be known as ‘the cinema of the Transition’, as well as a pioneering revision of gender perspectives from the point of view of queer theories. El Palomar has brought Cardín’s script to the screen in an installation that features video, as well as all the documentation accompanying the research process to create the work and a set of posters made by various artists and later incorporated into the video as a way of marking the different scenes. Cabello/Carceller, Francesc Ruiz, Dora García and Nazario, among others, created posters on the topics developed in the film, such as perversion and truth, but also other subjects that interested Cardín, such as Lacan’s psychoanalysis, Pier Paolo Pasolini or Daniel Paul Schreber, a homosexual German judge who in the early twentieth century published his memoirs, which were later stigmatised by classical psychoanalysis.

Following the presentation of the work at La Capella, Barcelona, in 2016, El Palomar explained: ‘To make a film out of this screenplay, in a way, is to re-write things from the point of view of Cardín. He had an extremely complex personality, first because he was an intellectual, and second because, socially, he was a very uncomfortable person. And this, we think, was mostly due to the fact that he understood gender theory from a queer perspective.’