After a brief profile which introduces the filmmaker, the book opens with a first section comprised of five essays which are different in origin and style. The first article, by Efrén Cuevas, is s an introduction which situates Berliner's work in the context of American film production while highlighting different keys of interpretation for his work as a whole. Carlos Muguiro reflects on the role of editing in these films, a fundamental dimension for understanding them correctly, stressing the biographical profile of Berliner himself whose craft began in the world of editing. For his part, Roney Cytrynowicz analyzes these films from the historian's perspective, engaging the personal version of history, anchored in family memory, which they provide. The last two articles negotiate specific films. Paulo Pecora studies the four shorts which Berliner made in the eighties, exploring the relationship between image and sound constructed by the filmmaker. Finally, Gabriel Boschi looks into the discursive strategies in Nobody's Business with ideas that complement those developed in the preceding articles.

The second part of the book is composed of three interviews with Alan Berliner. Due to their interest, we have reproduced the interview by Mitch Albert on Nobody's Business, published in The Independent Film & Video Monthly in 1997; and the one by Jason Silverman on The Sweetest Sound, published to coincide with the 2001 Berlin Film Festival, are reproduced here. Taking into account that material, a new interview has been conducted, which aims to fill the gaps and answer the questions which connoisseurs of Berliner's work may ask. In the third section we showcase Berliner's own writings. We have reprinted an article of his, "Patience and Passion", published in DOX in 1994, where he explains very clearly how he perceives cinema and his own work. A selection of his work journals have been added, among them those referring to Nobody's Business and The Sweetest Sound published for the first time. A more extensive selection of the journals about the two other films are already available on the filmmaker's website (www.alanberliner.com), where readers will also find material complementary to that published in the book.

With the exception of the work journals, the rest of the book is published in Spanish and English as a further sign of our desire to form a broad forum for debate which readers from different backgrounds can access. We hope that this debate will be a productive reality, and that the work of Berliner will continue to provoke conversations as interesting as those which have arisen during the course of this book.