Laida Lertxundi’s work is about cinema shots. By only keeping two kinds of shot (3 quarter shots and insert shots), Lertxundi plays with the visual grammar of popular cinema in order to create what she calls the“B side” of a film – i.e. what is left when the purelynarrative elements are removed and those that communicate emotion are kept. The Room CalledHeaven is exactly one reel long, which defines its duration. It is an ethereal road-movie shot in Texasand New Mexico. It is virtually a soundtrack made up of fleeting images, saturated with light and given poetic form by the music. A 16mm film spools through until there is none left, and that is the end of the story.