The Furtives

Sahar and Lorca lead a happy family life with their daughter Tishka. When Tishka‘s bed is empty one morning, even though all the windows and doors are firmly closed, everything changes. While Sahar retreats, initially believing it to be a kidnapping, Lorca investigates an urban legend: He suspects that Tishka is with the so-called furtives, beings who supposedly live unrecognized in the blind corners of our perception. When strange symbols appear on the wall of her nursery, it is clear: Tishka is alive, and she is trying to communicate. Together with friends and companions, Sahar and Lorca try to make contact, penetrating a strange world that is always where we are not looking. But the closer they get to their daughter, the greater the public interest in the case, as it soon becomes clear that the furtives have the ability to radically reinterpret supposed necessities. Tishka becomes the most wanted person in the country. Whether she is still a person at all or already something else entirely is not clear.
Alain Damasio shows a capitalism in its final stage, shaped by lobbyism: we are not monitored in order to be oppressed, but so that we can be sold things that make life under surveillance more bearable. Only the furtives show the way out of the compulsion to consume. Their mutability and malleability is reflected in the typography, behind which the text increasingly becomes a riddle.