Antonio Macarro has been working in the publishing world since he first began taking photographs in 2002. In 2007, he set up his own studio, from which he works for the publishing and photographic industry. He has brought out a number of publications, including Real People, Masterpiece and his latest offering: Many of Them, which aims to spark off a debate in which creators can share their view of the world in which they operate, its language and the problems it faces on a day-to-day basis.

In 2013 he completed his first feature film: "How to disappear completely".


This cinematographic project [editorial] is based on a series of film notebooks made with directors such as Costa-GavrasRaya MartinRikrit TiravanijaMia Hanssen-LoveCarlos Reygadas and Olivier Assayas, among others, for the third volume of the publishing project Many Of Them. As a result of the debates that emerged between the second and third volume of this publication, concerning a certain way of constructing audiovisual language, the existence of a number of apparently outdated structures, the problems posed by the current cinematographic language and system and especially the symptoms of what might appear to be a number of new ways of thinking about the image, the need was seen to put these reflections into practice.

This proposal is therefore seen as a creative dialogue based on a kind of manifesto or procedures established by the Philippine director Raya Martin and which were developed into a much broader collaborative project, recorded in search distance places such as Jaipur, Delhi, Kyoto, Osaka, Nara, Taipei, Nueva York, Nairobi, Tepoztlan, Mexico F.D., Santiago de Chile, Singapore, Abu Dabi, Lyon (France), Paris and Los Angeles. A large number of people took part in this film, including the special collaboration of the Mexican actress Nathalia Acevedo, who returned to the location in which the film Post Tenebras Lux by Carlos Reygadas was made and in which she played a leading role. The film captures the new journey embarked upon after that set, that story and those characters.

The chapter-based structure of the film enabled the use of a range of different registers and unlimited means, the mixing of the most basic technology with other, more sophisticated systems, the combining of different genre and the gradual building of the film in accordance with requirements as the film was being made. Articulated around that initial programme, around a configuration that is both established and infinitely open, the narration is deployed, containing an infinite number of variations that branch off and intermix: uncountable journeys, searches and impossible cartographies.

The intention of the formalisation of the proposal in the publishing support is to prioritise and visualise the creative process of the film. In this way, through the staging of the documentation collected while the film was being made, in the form of photographs and texts, the collaborative nature of this project and its construction and non-linear structure is made clear.

The audience can access extracts not included in the final edited version and material beyond the camera's range of action, giving some of the factors and agents that intervened in the creation of this project a central role.

This more documentary-like display of character is completed and acquires a total meaning accompanied by the DVD of the film A Film-Expedition.