Claudia Bitran’s Titanic is a work about another work. A feature-length film about another feature-length film. But it is also a meditation on bodies. You could try analyzing it by assigning it some recognizable category, but in this piece, formal edges have been deliberately erased or reassigned.
That is, the film begins, develops, and ends. But the intersections it builds within it manage to defer the desire to categorize: what is it and why was it made?
First, the film is a pretext generated by impulses and intensities, which soon morphs into a complex instrument of reflection. Like the polished surface of a mirror, where your surroundings momentarily reside, another reality exists in this work and it disappears in the blink of an eye.
