Antoni Padrósbank clerk in the morning and a filmmaker by night, is undoubtedly a key figure in the Spanish avant-garde. Padros makes his film in a completely marginal form, without any protection, often with rotating expired material, and without no second takes. After a first experiment in 8mm, Alice has Discovered the Napalm Bomb (1968), he began working regularly in 16mm, using expired film. Dafni and Cloe (1969) and Pim Pam, Pum, Revolution (1970) marked the birth of an artist poetic, abstract and without limits. Lock Out (1973) represents his first feature film shot with no sound, Orly to be followed by Shirley Tempe Story (1976), a 226 minutes of footage edited in one night, Veronica L. A woman in my garden (1990) and The Rising, fall and rest of Maria von Herzig (1986). Padrós’ work has been consistent, and free of dogma and fashion. Hence his images are presented as a film quest for other worlds, other realities that are targeted by the suggestion of the allusion, told with elliptical language.