Medem’s circles.

Abstract

This article analyses the constant presence of circular structures in Julio Medem’s films and sheds light on the obsessive use of these spherical constructions by the Basque filmmaker. In order to do this, we have chosen the first five films of his body of work: Vacas (1992), La ardilla roja (1993), Tierra (1995), Los amantes del Círculo Polar (1999) and Lucía y el sexo (2002). The narrative analysis has been the methodology used to reach our aim. From this perspective, we have studied the organizational arrangements of the above listed filmic texts, classifying Medem’s circumferences in two types: the structural circles and the compositional circles. Moreover, we have considered the concept of circularity. In this way, we have been able to disassociate the artistic text from the pulse of human essence. As a consequence of our findings we have introduced another type of structures that we have named psycho-emotional circles