The work takes a formal  inspiration from the soviet director S. M. Ejzenštejn’s studies and exasperates his theory about the perfect framing to make it  The work was inspired by theoretical studies by the soviet director S. M. Ejzenštejn about the cinematographic form exasperating the theory of perfect shot that attends upon the telling of unconscious changing.

A shot that suppose an off-screen, but that contains everything, finishing the “thirst” of editing, progression and consequence.
Interno tells about going back until the deletion of concluded gesture, tells about the deaf body.
Interno tells about the negation of a relation, exasperated until the call of the nature wins.
A window should be there…
Interno is the epiphany of the sleazy unconscious.