Synopsis: A path that was covered and later forgotten is usually a good starting point for a documentary. In this case, it’s Oskar Alegria’s search for the house on the Basque seashore where Man Ray lived and shot a film called Emak Bakia. But Alegria’s aim is not so much to “document” but to “explore”, and so he goes deep into (Super)Man Ray’s footprints like a film diver, like someone who explores the deep, what we can’t see on the surface, bringing something that is far-off but completely new. With invention as his North he playfully places his film on top of another –the metaphor about the referent– and brings those remains from the past in the form of a palimpsest, subverting the emphatic gesture of avant-garde art and transforming it into a classic one. But at the same time, Alegria tries to build his home/film and does so with an exceptional use of resources, from collage to symmetry, and from visual parallelism to written irony. As in every good story, this film narrates a journey in search of (inventing) a house we all wish we could live in.