Coming from glass bottles, the crystals, initially sharp and fractured, were thrown into the sea by humans. However, over time, waves and sand have exerted their influence on them, returning them to the earth in a new form: now polished and free from the risk of cutting or injuring.

The film reflects Victoria’s personal journey. She was experiencing a period of anxiety, feeling disoriented and concerned. As a form of escapism, Victoria undertook daily long walks along the coast, where she began collecting sea glass without initially attaching much significance to it. Over time, these walks became essential for her well-being. Each walk was a sensorial experience: the smell of salt, the crunch of sand underfoot, the immersive sound of the waves, and the imposing presence of the sea seemed to alleviate the emotional weight she carried. The beach gradually assumed a spiritual and ritualistic significance in her life.

Sea glass became the raw material for Victoria's creation of paintings inspired by cathedral stained glass windows. With meticulous attention, she composed landscapes giving them a narrative structure, later filming them using techniques such as microscopy and underwater filming. The result is abstract images that convey a sense of expansiveness and grandeur. Working on this film acted as a constant laboratory and a research for textures through camera and sound. ...

The story that emerged from this process is a reflection on symbiosis, the relationship of human beings with time, and introspection through nature. The sea water acts as a transforming agent, and the glass is equated with emotions, evolving from a sharp to a polished state. The beach is a living character that invites people, like temples, to feel their "faith" or their "inner self."

The film interprets nature as the essence of our vitality and our death. The human being is formed and decomposed thanks to nature, and, generally, our interpretation is superficial and anthropocentric. The project challenges this perspective by portraying nature as a living space, suggesting a connection with the sacred, while critiquing human dependency on constructed religious structures. Additionally, it’s a space that does not primarily serve for enjoyment or entertainment. Nature is alive, and if humans consider it as a living organism, the relationship with it would likely be more ecological. This underlying idea is a sublayer of all the intentions that the project holds.

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