EXTRAORDINARY IN THE ORDINARY
24FPS is an editorial and object-based project that explores independent and cult films through an obsessive, meticulous, and emotional lens.
Each issue of the magazine is a monograph entirely devoted to a single film, analyzed through 24 key frames —one for every second of the cinematic standard— that serve as entry points to unravel symbolisms, aesthetics, objects, gestures, and curiosities that, though seemingly ordinary, conceal extraordinary narrative value.
Every edition of 24FPS comes with a physical, iconic, and exclusive piece inspired by the film being analyzed. This material dimension of the project seeks to transform cinematic emotion into a tangible, collectible object —a gesture of love for those who wish to possess a fragment of the filmic universe that once moved them.
This collection not only pays tribute to the invisible details overlooked by the casual viewer, but also elevates the visual and emotional fetishism inherent to the true cinephile. It is aimed at a very specific audience: filmmakers, collectors, and design enthusiasts who don’t just watch films, but live them, analyze them, and preserve them in memory as one would a treasured object.
24FPS redefines what often goes unnoticed, celebrating the art of pausing on a single second of cinema to discover an entire world within it.
This project was born, quite crearly, from one deeply significant figure in my life: my father, Manolo—a true film enthusiast in every sense.
His passion for cinema and music has always been boundless. Though he never worked professionally in that world, he lives it intensely, both as a viewer and collector, with a rare sensitivity to detail and a genuine love for everything surrounding it. Since 1985, he has collected magazines, books, and countless film editions from around the world, opening each new arrival with the excitement of a child unwrapping a long-awaited gift.
For him, cinema isn’t just about watching—it’s about touching, owning, observing, and feeling. Every element matters: the artwork, the packaging, the texture, the notes. That way of living cinema became a family ritual and the origin of my own passion, which I now express through design.
This project is, above all, a tribute to that sensitivity—a way to capture and translate it into form. It’s my way of honoring what he taught me: that within the seemingly ordinary, extraordinary things can always be found.
RESEARCH PROBLEM
We live in an era of constant overstimulation, flooded by endless visual and auditory inputs—immediate, accelerated, and fleeting. This speed has dulled our attention and, with it, our sensitivity to perceive details. Everything is accessible, yet little is truly valued. Cinema, as a visual and narrative art form, has not escaped this logic of immediacy.
The cinematic experience has lost much of its ritual: few still await a film’s release or immerse themselves fully in its story. Streaming has made cinema abundant but less tangible, erasing the physical bond and aura once tied to the film object.
This project arises from a simple question: How can we recover sensitivity toward detail and restore the material and emotional value of cinema in a digital, ephemeral age?
Collecting becomes an act of resistance—a way to preserve what the world disperses. Through design, this project reclaims the beauty of the ordinary, restoring to cinema the emotional depth it still deserves.
DEVELOPEMENT
For the development of this project, I took the time to deeply explore every element that would shape my theoretical framework: independent cinema, symbolism in film (color, objects and MacGuffins, places and settings, light and shadow, actions and gestures, animals, religion and mythology, and more), collecting culture (memorabilia, passion, fetishism, exclusivity...), and the intricate relationship between cinema and design (graphic, product, diegetic, etc.). Of course, I also delved into the state of the art, countless references, and a thorough understanding of my target audience — cinephiles, collectors, and design enthusiasts.
After all this research came the design process itself. The core of my proposal lies in a simple but powerful idea:
“Pause for a second to see what the world — overwhelmed by endless inputs — can no longer appreciate.”
24FPS is an editorial and object-based project dedicated to indie and cult cinema, celebrating the hidden details that, except for the most devoted fans, often go unnoticed.
For the first issue of 24FPS, I chose Léon: The Professional by Luc Besson — a film that tells the story of an unlikely bond between Léon, a lonely hitman living by a strict personal code, and Mathilda, a twelve-year-old girl seeking revenge after her family’s murder. Set in the gritty yet poetic streets of New York, the film blends innocence and violence, tenderness and brutality, exploring what it means to find humanity in the most unexpected places.