There have been some film critics who have expressed unfavorable opinions about _Cerrar los ojos_, the latest work by Víctor Erice. However, contrary to the views of these critics of the TikTok generation and immediate consumption, this film conceals a great masterpiece. While it is true that its extensive duration, nearly three hours long, can be challenging, at times one perceives, amidst the frequent use of fade-to-black transitions, a sense that fragments have been omitted, as if part of the footage is missing to complete the narrative. Nevertheless, the real challenge can be appreciated from the very beginning, from the shot of the statue depicting the dual nature of man, both young and mature, simultaneously. Here, the film delves deep into symbolism; in essence, it is not a work designed for immediate consumption.

The evolution of this film is tranquil and remains true to Erice's essence. However, in his many references to classic cinema, specifically European cinema, one can discern a naturalistic approach, perhaps as a homage, which was not as evident in his previous works. In Erice's work, color is subordinated to reality rather than being an exercise in artistic chrominance, while in Garay's work, the characteristic grain of celluloid and the vibrant aesthetics of Technicolor are apparent. Music, for Erice, assumes a purely diegetic role, complementing the film in the sung moments with its verses, except when we contemplate _La mirada del adiós_, the work of the character director, where non-diegetic music is chosen. On the other hand, while Garay, in what little we glimpse, connects shots through music and crossfades, Erice frequently opts for fade-to-black transitions. This distinction between the real and the fictional directors is an intelligent display of cinematic language and extradiegetic significance that enhances the value of the film.

Furthermore, it is intriguing to note that _Cerrar los ojos_ does not deviate significantly from the narrative structure of _El Sur_ (allow me to digress personally: I felt that the film was going to end without a conclusion, much like what happened in his previous work). The theme of time, which was already hinted at in earlier works such as _El sol del membrillo_, persists as a recurring thread in Erice's filmography. This persistence suggests an unceasing quest into the temporal and emotional depths, an exploration that is poetically and reflectively expressed in his latest cinematic creation. Additionally, the use of existing films as a narrative thread, as he did in _El espíritu de la colmena_ with the film _Frankenstein_, reveals a recurrent inclination in his work towards intertextuality and the exploration of the deeper layers of cinematic art.

Nonetheless, returning to my critical perspective, and in disagreement with those critics who belittle this film, I pose a question: How would the films of Bresson and Dreyer appear if they were made today? The acting, the use of color and lighting, the types of shots, would not differ significantly from what Erice presents to us. This comparison with the masters arises from the phrase that accompanies the conclusion of the film: "Miracles in cinema ceased to exist when Dreyer died."

In conclusion, this film invites us to contemplate the evolution of cinematography in relation to its predecessors, the passage of time itself, humanistic happiness versus individualism, while simultaneously seeking the miracle of cinema within cinema, **the yearning for a metamiracle of cinema!**