José María Nunes, Sexperiencias, 1968

Although allusions to François Truffauts Jules and Jim and JeanLuc Godards Breathless suggest José María Nuness affection for French New Wave, Sexperiencias finds greater kinship with Nagisa Oshimas fractured, interconnected themes of sexual and social revolution. In a way, young hitchhiker, María (María Quadreny) is also a standin for accidental revolutionary, Motoki in The Man Who Left His Will on Film, a cipher who, in trying to capture the rhythms of everyday life (albeit through photography rather than filmmaking), is politicized by an atmosphere of unrest. Finding momentary connection with an outspoken activist, Antonio (Antonio Betancourt), Marías life is upended when her lover is imprisoned for dissent. Restless and adrift, she embarks on an affair with a nurturing, middleaged engraver, Carlos (Carlos Otero), only to find her newfound life of comfort and stability at odds with the chaos of the world around her. But while Oshimas melding of fact and fiction captures the spirit of an internal r