To serve the bewitching voice, the poignant and inexhaustible song of Paloma Pradal, it was necessary to build a world and a tailor-made cinematography, made of intuition and creative spontaneity. Very quickly, the technique of the sequence shot imposed itself. The very raw, almost naturalistic text of En mi Barrio demanded a concentration of the image, an absence of relaxation and a form of realism that only the sequence shot seemed to me to be able to offer. At the same time, the very free and instinctive personality of the artist pushed me to reject what would be a very analytical staging. We have thus worked on the decoration and the light in a resolutely generous perspective, with a profusion of green plants, light effects, decorative and allegorical elements like so many vanities. Far from any minimalism, we have tried to evoke the organicity and the feeling of natural abundance that emanates from the music of Paloma Pradal. I didn't want a clip here that would be "calculated in advance", but rather recreate an experience that had to be experienced for the first time during filming by the artist, the only way for me to maintain the freshness necessary for the success of this work. We therefore planned a series of meetings between the artist, the text, the light and the decor, marking out the approximately 3 minutes that the work lasts. Several appointments like so many paintings with neat cinematography. Finally, while having an overall idea, we left the artist and the steadicam operator plenty of leeway to "react" directly to the singularities and vagaries of each shot, and thus provoke encounters and happenings. artistic.