(...) Paradoxically, the silent cinema inaugurates the act of saying, and the audio cinema the act of silencing. Saying does not need words, but sile… - 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 (...)

A "quiet" movie in which "nothing happens", where people are shown looking through the windows, walking the streets, living in completely banal situations, or simply looking at each other without saying anything, does not satisfy the spectator eager for novelty ( ...) this type of spectator usually says, after watching an ontological film, that he did not like it because in it "nothing happens": precisely the kind of attitude that Heidegger intends to provoke in his writings, making the absence of pressing entities put us in touch with the being.

Cine: 100 años de Filosofía. Gedisa, Barcelona, 2015 (2nd edition), p. 294 <small></small>