Cinq nouveaux projets rallient la 4e édition de La Incubadora
par Alfonso Rivera
- Le programme The Screen de l’ECAM a sélectionné notamment les prochains longs-métrages d’Enrique Buleo et Jaione Camborda
Cet article est disponible en anglais.
The fourth edition of La Incubadora (part of The Screen, a programme run by the Madrid School of Cinematography and Audiovisual Studies (EMAC) aimed at promoting up-and-coming Spanish talent) kicks off this month, with workshops designed to support the development of five new feature films. Over the coming months, the teams behind each project will benefit from professional mentoring from the likes of Juan Cavestany (director of An Optical Illusion [+lire aussi :
interview : Juan Cavestany
fiche film]) and the producers Marisa Fernández Armenteros (The Mole Agent [+lire aussi :
interview : Maite Alberdi
fiche film]) and Simón de Santiago (Mod Producciones). La Incubadora is open to all directors embarking on their first, second or third film, with each participant awarded a development grant of €10,000. The five selected films are introduced below.
Produced by Quatre Films, Bodegón con fantasmas is, in the words of its director, Enrique Buleo, “a black comedy unfolding over a series of episodes formed by five short stories, in which death, either through the presence of ghosts or the mere belief in their existence, takes on a central role. Each of these tales, some unresolved, is really an interrogation of the situation facing the characters.”
Produced by Miramemira, Esnatu Zinema and Portugal’s Bando À Parte, El cuerno del centeno is a new drama from Jaione Camborda, following his début film, Arima [+lire aussi :
interview : Jaione Camborda
fiche film]. The story follows a midwife on Illa de Arousa as she goes about her daily work: “I wanted to establish a really physical connection, between bodies, faces and the earth; I wanted each birth to take on a mammalian quality, so that the physical effort of giving birth can be read in the mother’s muscles, in her facial expressions,” says the Galicia-born director.
Casa de fieras, Eva Saiz’s first feature-length project, will be produced by Almaina. The film follows Pablo in what may be the final summer of his childhood, as he seeks to close himself off to the reality of a world he cannot understand, inventing an imaginary friend who lives in the Casa de Fieras. “I look at this film as an homage to childhood, understood as a different way of seeing the world. It speaks of reality as something personal to the perceiver, and imagination as a form of deliverance,” she explains.
En carne viva, directed by Ainhoa Menéndez and produced by Nuria Landete, introduces us to Mara, who spends her childhood in an orphanage, shunted from one foster home to another. All her life, the people she loves have left her, and so she is constantly waiting for the next abandonment. To keep them close, it occurs to her that she will have to eat them. “I’ve always felt a special connection with the fantasy genre, and all of my films fall under that heading. For me, a recurring theme is the quest for identity. My characters are all ill at ease in their own skin, struggling to find themselves and/or somebody to love,” says Menéndez.
Finally, Las líneas discontinuas, directed by Anxos Fazáns and produced by Sétima, depicts a moment of crisis when a physical connection with another human body becomes a lifeline: “I was inspired by a real-life case where a guy tried to burgle a house and fell asleep; the owner caught him and called the police, and he wound up in prison. For this film, I wanted to consider whether someone might react differently, not passing judgement on the thief but taking the opportunity to get closer, to really try to understand him,” sums up the director of The Wild Season [+lire aussi :
(Traduit de l'espagnol)
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