 He has consistently contrasted films that use the syntax of cinema as exercises in the manipulation of sound, image and film time, as in Stereomongrel, 2005, and Smother, 2008, with raw, aggressive videos that deliberately contradict film conventions.Gispert has used elements of destruction to designate the end of one phase of his career and the beginning of another.He always approaches new projects by trying to work himself out of a problem.