In a way, Alicia Framis’ work is a fable. Starting from a very specific observation of her surroundings she tells stories with a real base and a fictitious development that show up some of the flaws of modern society, for which she tries to find a solution, undoubtedly involving an indirect ethical lesson. This investigation into the world around her has evolved from the private in the works of the 90s such as Cinema Solo or Dreamkeeper to the social in series like Anti-dog or Secret Strike. In all cases her projects follow a recognisable schema: a living documentary investigation of a series of conflicts which human beings (often, but not exclusively, women) face in an individualistic contemporary society which overprotects itself from the other. From there she decides to provide practical solutions to the problem. Everything begins with an idea and ends up becoming a plan, a complex project through which she approaches the same problem from different viewpoints and to which she eventually tries to offer solutions. In that way her works end up being organised in corpora of meaning that define a specific problem, whether loneliness, fear of aggression, the need to be loved or alienation.