Built almost entirely with found footage, "De la hospitalidad, derecho de autor" claims, on the one hand, the appropriation of the material of one author (here the sacrosanct Rossellini, Welles, Erice and Kiarostami) by another. And, on the other, it supposes a reflection on the role of the spectator in front of the cinematograph as a medium that represents reality, constructs imaginaries and that, for the most part, demands our credulity. "De la hospitalidad ..." invites, therefore, to discover this author / spectator mediation, through three pieces or chapters of a practically autonomous nature.