All Dirt Roads Taste Of Salt is, in essence, a lyrical conversation between all of the protagonist's selves at different ages and experiences in her life. The film is told non-linearly to speak to the nature of memory and how events from youth are often mirrored in adulthood. With All Dirt Roads Taste Of Salt , I'm exploring the significant shifts and sparks in the protagonist’s life and how the ripple of them spills out across years.
Screenplay: Raven Jackson
Shooting location: USA
Synopsis: In lyrical, non-linear portraits evoking the texture of memories, All Dirt Roads Taste of Salt viscerally and experientially explores the life of a Black woman in the American South - from youth to her older years.
How many identities fit into one life? How many do we know about? How many are we ignorant of?
At the origin of each one, and throughout its exploration, is the excitement of the possibilities that influence and define them. Un personaje volador sets this constellation in motion. Inspired by a writer (Iosi Havilio) who goes through a crisis after losing his mother, the Argentinian painter Mónica Rossi, the character sets out to meet other lives which are as fictional and real as his own, inhabiting and embodying each one throughout its unique evolution. These other identities talk, think and act—in parallel and solo—each with their own colour, rhythm, language, music and silence.
Original idea and development: Iosi Havilio and Martina Juncadella
Screenplay: Iosi Havilio and Martina Juncadella
Language: Spanish and French
Shooting location: Buenos Aires, Argentina
Synopsis: A writer moves to a mythical hotel in central Buenos Aires while in the depths of grief following the death of his mother. While tackling his next novel, he wanders the city with a roll of paintings that he can’t open. His life grows complicated following a series of chance and enlightening encounters with strangers. One long night, he finally manages to unfurl the works his mother left behind. From now on, he won't be just him: he’ll be Pablo, a lawless yet gentle beast, and Ursula, a bitter and melancholic woman. Three identities, three lives, all forged around one experience.
“Cartones de Rafael-Hoy”, Mónica Rossi, 1981
Antier noche is something I’ve always heard my grandmother say. It refers to something that took place the night before yesterday. The past is narrated from the present. The piece stems from my wish to make a film in a forgotten corner of the world, with a group of young people I know and who I’ve already worked with. I wanted to rebuild their story with them, the same story that starts with my family in the 1960s, a time when emigration was one way that people adapted to a time of constant progress. It still is.
Screenplay: Alberto Martín Menacho
Shooting location: Badajoz, Extremadura (Spain)
Synopsis: Hunting takes place in the countryside of southern Extremadura during the cold winter months. Ana (20) and Juan Luis (25) are a young couple in charge of leading the dogs in this ritual event. For some time, Ana has been thinking about leaving her town for the capital. The two must negotiate the terms of their relationship and whether or not they want to stay together. Martín (11), Ana’s younger brother, is growing up in a rural environment alongside the violence of nature. A rupture in the present may evoke the memory of a fracture between an old world on its way out and an emerging modern one.
From the very beginning, this film came to me as a horror narrative. I'm not particularly fond of genre movies, and i never explored genre in my films before. Nevertheless, I thought this initial concept should be used for the basic dramatic structure of the film.
At the same time, what seems at first to be a clear genre construction should find a way to transcend the obvious into a more abstract audiovisual form. It should detach from the genre system and rules and turn into a personal expression on the fervent social and political issues of current brazil.
Screenplay: Michael Wahrmann, Diego Lerer and Alejandro Fadel
Language: Portugese, French and German
Shooting location: Brasil/Paris
Synopsis: A retired French couple buy an abandoned house on a paradisiac island in the northeast of Brazil. The island is more isolated than what they had imagined. To their surprise, upon arriving on the land they acquired, they find a small fishing village inhabited by descendants of an old German colony; strange scars on the villager’s bodies hide a secret kept for decades. A class struggle over land and borders is established raising questions about the limits and different kinds of pain in a social horror thriller.
In 1992 -the only year in which Negu Gorriak did not release a record- my mother ended an unhappy marriage. Though I’d never heard the word feminism, I began standing up to an authoritarian and misogynistic father figure. Years later, I asked myself why the followers of a leftist ideology could organise themselves to fight against certain forms of oppression and yet were incapable of doing the same against others, such as the patriarchy. These memories would pave the way for reflections on the links between father, fatherland and nationalist ideologies. Can images be tools for imagining other possibilities of past and future?
Screenplay: Aitziber Olaskoaga and Pilar Monsell
Length: 25' - 30'
Language: Basque and Spanish
Shooting location: Basque Country
Synopsis: In 1990, Negu Gorriak played their first concert outside Herrera de la Mancha prison and later sold a VHS recording of the event. The tape became a symbol for followers of the Abertzale left. Jo ta ke is a video essay which uses images from the video and the director’s own memories as its starting point. It opens up reflections on the construction of national identity and the links between fatherland, father and patriotism. The project relates the author's political awakening in the politicised and polarised context of the Basque Country.