2018
Vanity deals with the anguish that reappears due to actual terrorist events. It draws a labyrinth of missed appointments where the trajectory, though continuous remains elusive. The story is composed as a puzzle, of which the multiple clues reflect a feeling of suspicion that, mixed with confusion turns into a hysterical flight in the middle of the night. The film, played by Italian dancers lost in Virginia, forms a kind of intimate psycho-western. The action takes place in the high-society of the interwar period. A woman sinks into a paranoia that seems to spring from the vacuity of the
Underbridge is a single sequence shot that consists in a complete and precise choreography of the all dancers, camera and light operators. The action is a continuous night flight from an unknown beginning, in which the characters, facing the same situation, bump against a vertical architecture made of concrete. On a social perspective related to mass urbanization, we could say that the action is an escape from freedom into the walls.
Ciruela de agua dulce (Co-producción China/España) “Una mujer transgénero china, empleada en un cabaret de Chengdu, recibe la inesperada visita de su prima, quién le comunica el fallecimiento de su madre (de quien se había distanciado tiempo atrás). Siendo el único “varón” de la familia, se ve moralmente obligada a regresar a su pueblo natal para organizar el funeral, aunque para ello deba ocultar su nueva identidad a parientes y vecinos.”
Fran y Sofía son una pareja peculiar. Ella sustenta el peso económico de la familia, es una mujer de éxito, que por el contrario no presta demasiada atención a su marido, ni se ocupa de las tareas domésticas, y delega en él la responsabilidad del cuidado de su hijo. Lo que suele pasar normalmente en las familias españolas, pero justo al revés. ¿Está nuestra sociedad preparada para este cambio de roles?