José viene de Madrid, ha visto en el Prado el Cristo de Velázquez. Se enfada por la persistente anécdota en boca de los guías sobre el mechón que cubre su rostro como producto de un error de Velázquez. ¿Es que alguien como Velázquez podía equivocarse?
La respuesta está en otro mechón que cae, el del Gran Poder. Cristo es el epicentro de la Semana Santa, un desafío artístico que debe responder todas las preguntas. La imagen de Cristo ya es algo más incluso que un propio Dios: es un tótem, un absoluto icono donde se depositan flaquezas y se confía lo más sagrado y lo más íntimo, lo miserable y lo imposible.
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