{
  "id": 436986,
  "title": "See to not believe: when photography stops being evidence and becomes fiction",
  "url": "https://urgent.news/2026/08/10/ver-para-no-creer-cuando-la-fotografia-deja-de-ser-una-prueba-y-se",
  "topic": "culture",
  "section": "Culture",
  "published": "2026-08-10T03:30:01.000Z",
  "source": {
    "name": "El Pais",
    "slug": "el-pais",
    "url": "https://elpais.com/cultura/2026-08-10/ver-para-no-creer-cuando-la-fotografia-deja-de-ser-una-prueba-y-se-convierte-en-ficcion.html"
  },
  "original_language": "es",
  "account": "The whale lies on a blue canvas, at the foot of a truck loaded with ice. It seems a banal scene in any Korean market, until it takes on a genre film air: there are traces of blood on the animal and its pale body, defeated on the asphalt, prints a mute violence on the image. It's not strange that behind the camera is Park Chan-wook, the masterful director of Oldboy and Decision to Leave, who for the first time in Europe exposes his facet as a photographer, crossed by that mixture of the everyday and the ominous that also characterizes his cinema. In his images, a bouquet of flowers seems to suffocate inside a plastic cover. The hand of a mannequin emerges from a radiator. And it's enough to squint for a row of closed parasols to become an unsettling procession of ghosts.",
  "summary": "From photos of supposed UFOs to the unsettling scenes of Park Chan-wook, going through the rediscovery of Martine Barrat and the visual culture of African independences, the Arles Encounters explore the diffuse frontier between document and construction.",
  "key_points": [],
  "editors_take": null,
  "illustration": null,
  "coverage": {
    "outlets": 1,
    "also_reported_by": []
  },
  "ai_generated": true,
  "disclaimer": "Summaries, key points and the editor’s take are written by software from other outlets’ reporting and may contain errors — always check the linked original."
}