The look is not neutral in the act of the perception. She involves an intellectual, social and political intention about what we show, what we teach and what we hide. Its presence and its condition accompany the formal strategy that each one of the three disciplines uses to articulate his critical speech. More beyond of its more elementary condition as mechanism for looking towards the other side, for flooding an environment of light and color, for capturing the landscape, for focusing the scene, the window has been used as an interface capable of establishing spatial and temporary relations, for underlining or for dismantling the social and spatial hierarchies and transferring the information more beyond of our own bodies. The electric light is pure information. Screens and other communication media are other forms of windows, whose presence in the cinema, the art and the architecture, in the private space and in the public space, incorporates the critical reflection about the social evolution and the new spatial and temporary relationships of the contemporaneity. Filmmakers, set designers, artists and architects have provided experiences that go beyond their own discipline. Cinema and architecture are built on the opening of relations and the establishing of connections between the different parties at stake. This paper will develop reflections crossed between cinema, art and architecture, the evolution of the traditional role of the spatial and temporary boundaries and its technological, informational and virtual transformation.
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