In Joseph Cornell’s “Angel” (1957), a statue seems to be looking at a rounded water surface that, instead of returning its own image, shows it rather a continuous assemblage of elements. Nature thus appears to imitate the artist’s work. And the stone figure, escaping its own boredom, becomes an eternal spectator to the cinema of multiple relations, in which no frame is the same as the previous one. Without resorting to image processing software, to film classes, or any device other than the light, what we see in this movie is nature itself experimenting with visual effects: masks, interlinks, distortions, overlays, etc. Diogo Costa Amarante (adapted)