An Australian Aborigine would be unable to recognize the theme of the Last Supper; for him it would express nothing more than the idea of a more or less lively meal.
Erwin Panofsky

The labyrinth is one of the oldest symbols of what has been called our unconscious, it has been sculpted, painted, engraved on walls, on vases, on the earth around villages, almost everywhere, from Greece to Finland, from Ireland to Tierra del Fuego, it also figures in the most ancient myths, legends, in modern tales and in the current films of all peoples. And there are many labyrinths in the history of humanity: from the classic one on the island of Crete, to the Egyptian one described by Herodotus, from the house of the labyrinth of Pompeii or that of Nafplio, to the Christian and medieval ones of the cathedrals of Chartres and Reims. Those of so many Renaissance palaces, the Venetian prisons of Piranesi, those of the botanical engineering of Versailles to the Kafkaesque ones of the films of Welles, Hitchcock or Kubrick. We could affirm like Asterion in Borges' story, that "the house (the labyrinth) is the size of the world, or rather it is the world".
In all these constructions, as well as in the texts that make up this book, it is necessary to orient oneself in some way: looking for symmetries, homologies, remembering paths, discovering traces, reading marks, or relating clues.
In this sense, the labyrinth would be the spatial metaphor of a certain cosmos, the interpretation that allows us to orient ourselves, as that ability to find a certain order of reading, to establish crossovers between cinema – as in this case – and other disciplines. And where, perhaps, that famous "thread of the fable" (mark, reading and memory of the road traveled), is nothing more than a guiding force to activate the mechanism of the association of ideas, which all criticism and reflection implies.
Einstein understood chaos as a structure with an order of which we do not know its law. The labyrinth of readings proposed in this book is the concrete materialization of this concept.
However, today, those labyrinths with a single center and a single path are no longer the most pertinent to interpret current works of art: "gardens with forking paths", virtual and interactive networks, rhizomatic transformations, seem to be the most current ways to conceive the labyrinth of the real.