The premise of “Azul Bosques” is to imagine sex as a means of state control.

To achieve this, it is set within the context of a dystopian future in which the guiding

principle for individuals has become “to produce in order to be allowed to fuck.”

With an omniscient government based, on the one hand, on a virtual (and

disconcerting) presence, and on the other, on hyper-surveillance, spaces of intimacy

are minimal—perhaps limited only to moments of release in which, alongside half of an

anonymous body, one can access sexual pleasure.

Is the human being potentially enslaveable under the restriction of sexual intercourse?

What happens to love in a society founded on radical anonymity?

Through which cracks does rebellion seep under the omniscient, watchful gaze?