Take a look at this small collection of five non-fiction titles featuring the new work by renowned Goya Award-winner Elías León Siminiani (‘Síndrome de los quietos’); the amazing debut film by actress/filmmaker Nerea Barros (‘Memoria’); a review on grandma's past by Málaga’s Best Documentary Award-winner Carolina Astudillo (‘Naturaleza muerta’); one of the most unknown uprisings of our history from which no names, no images and no faces remain, rescued by Pilar Monsell in ‘A Revolt without Images’; and the yet to be discovered stylish extravaganza ‘The Floating World’ (Fernando Souza, Pablo Curto) depicting the every-night-life of Tokyo’s red district’s new number one Host. New Spanish non-fiction delights in short format.
León Siminiani, 2021. Salto de línea English, Spanish (Spanish, English subtitles). 30’
In 2018, a group of filmmakers, calling themselves The Motionless, embarks on an essay film about a hypothetical stillness syndrome in the Republic of Colombia.
Fernando Souza, Pablo Curto, 2021. Salto de línea Japanese, English (English, Spanish subtitles). 14’57’’
At first Ryuki hated alcohol. But he’s spent the last two years drinking every night with women that pay him to become their boyfriend.
Nerea Barros, 2021. Salto de línea Uzbek- Karakalpak (English subtitles). 15’48”
The Aral Sea. A former fisherman and his granddaughter. She sees a desert. He believes the sea will return. The passing of memory between generations is the engine of the film. The connection of body, earth and water that gave us life, its essence.
Carolina Astudillo, 2020. Salto de línea German (English subtitles). 5’
Freud described the sinister (unheimlich) as a contradictory experience where the uncanny appears familiar to us and what is known and familiar seems strange. A woman discovers that her grandma’s past was very different from what she had been told.
Pilar Monsell, 2020. Salto de línea Spanish (English subtitles). 14’
One of the most unknown uprisings of our history, “The Bread Mutiny”, was led by women in Cordoba, May 1652. There are no faces, there are neither names. There is no image of them. How can we recover the gestures of resistance that we cannot see?