Jorge Luis Borges, referring to music defines the aesthetic experience as “the imminence of a revelation that is never produced.”
In cinema, in favor or against the musical mystery, the soundtrack is at the service of the image; it complements
the dramatic tension of the script and emphasizes or comments ironically on elements of the story.

The music composed by Felipe Pérez Uribe for VISITAS carries out all of these functions with eloquence, sophistication and, mostly, with a deepsense of beauty and sensitivity. His compositions can be “seen” and heard, since they adhere to the image with concision, and become the thread that weaves together a film constituted by three different, yet connected stories. The theme as leitmotiv repeats itself at different junctions throughout the film, either literally or as a variation, stressing here and there dramatic moments of harmony or discordance, characters, situations and mood. Felipe’s vital musical erudition becomes evident in the passionate dialogue his compositions establish with a rich musical heritage: from the Caribbean rhythms of “Hotel Balthazar”, to Philip Glass and Michael Nyman’s minimalist compositions in the main theme; from the Bach invention in “The Prophet”, to the marvelous dialogue with Giovanni Battista Pergolesi in “La Pietá.”

However, like with any genuine work of art. In this beautiful music there is a “beyond”: something that goes beyond the film itself, beyond the merely dramatic function required by the soundtrack. In this beyond, every time we listen to Felipe’s music, the mystery of the aesthetic, as referred by Borges, takes place all over again.
And this mystery, this wordless pleasure will accompany my film and enrich my days. My gratitude is endless.