Structured as a triptych, At the edge of the universe describes the lives of three people living in Patagonia. Each one of them has opted for a simple life far from the madness of the world. At the edge of the universe is both a creative and observational documentary.
It employs rich aesthetic and experimental treatment in lieu of the usual conventional elements common to industrial documentaries (talking heads, authoritative male voice-over and excesive use of music). The film eventually shifts from its prevailing observational tone into a more experimental and poetic form. Thus, the overall design can be best defined as a hybrid form of documentary. The film is predominantly visual, based on an experience close to real-time perception. Both images and time play a fundamental rôle in portraying the lives of all three characters in their own Patagonian milieu. With regards to light --which is of utmost importance to me-- it ought to be naturalistic at all times. That is, I always favour the use of available light (and beautiful and suggestive darkness!). The viewer will be able to enjoy the plastic, sometimes dream-like and poetic quality of the film trough carefully constructed and composed images.
Each character is presented against his/ her natural environment (Nature) in a (human) scale that suggests humility to the viewer. Thus, Nature, eternal and majestuous, becomes the fourth, perhaps the main character in the film. A still camera contemplates the Patagonian landscapes surrounding the three characters. Against its colossal scale, the three characters are drawn. The retired railway worker ventures out into the elements in order to fetch some firewood. The filmmaker-philosopher, tries to record and decypher the hidden messages in Nature. The amateur paleontologist admires and scrutinizes her rich surroundings looking for misterious signs that will never release their secrets.