Perhaps the lexical connections ultimately rest on the will to live, on the will to power, on pain, on mortality or sexuality, and not on pure logica… - Julio Cabrera

(...) an abstract conception of cinema opposes a photographic conception, marked by technology; because of this I do not like it when photography is talked about as a precursor or pioneer of cinema; photography is related to cinema only mechanically; the poetic predecessor of the cinema, its thinking pioneer, is literature much more than photography; there is nothing intrinsically photographic in the cinema, cinema is as abstract as literature, and so opaque; nor is photography concrete; nothing human is concrete, or transparent, every human is predicative, it shows by hiding, includes by excluding , understands by ignoring, thinks by dispensing (...)

The "eternal gratitude" is present not only in the early stages of life, but throughout children's long dependence upon their parents during the first ten years of life — in which they are even objects of exhibition — and in the harsh period of adolescence, in which children are endlessly treated as "ungrateful", as if they were never able to repay their immense debt; everything that is bought for them, for their future, their studies, all those things that the child never asked for, which are part of an affective and economic investment of the parents, is endlessly and for long and hard years, presented as proof of sacrifice and love, as an object of eternal gratitude, never fully repaid by the ungrateful children. The position of parenthood constitutes a powerful mechanism of domination in which even the physical violence of punishments and beatings is justified in favor of the never-requested raising of that being who was thrown into the world, with parents trying to build protections so that their child is not destroyed by the immense gift they just received.

Cine: 100 años de Filosofía. Gedisa, Barcelona, 2015 (2nd edition), p. 426 <small></small>