Elías Querejeta Zine Eskola

The highlands of Granada, Spain, 2027. Among sheep, ruins and drones, a student and two shepherds meet and connect. Their lives entangle as they explore the history of a homestead that appears and vanishes at will.

I wanted to make a film about polyamory, because I firmly believed that I would love all partners equally. As a relationship became more intense, the foundations I wanted to explore began to conflict with the reality I was experiencing, and the direction of the film changed.

During a dynastic crisis in 14th century Portugal, the 10 year old Beatriz enters into a forced marriage to become the country’s new queen. At the Monastery of Sancti Spiritus in Toro, where the tomb of Beatriz is located, this story is re-enacted, re-imagined, and recreated with children of the same age. As their imagination is allowed to roam free, a different way to interact with their country’s history opens up.

João stars in a biopic about Liberada, a gender-nonconforming figure persecuted by the Inquisition. After the director is mysteriously paralyzed, João faces haunting dreams and struggles to honor Liberada’s story.

A baby is bathed by its mother, who sings: “When I was a young girl…”. Later, a little girl’s voice will pick up the thread: “When I’ll be an old lady…”. Between the two, the film sketches an anthropology of all the different games, wonders, and plays with auditory perceptions that children carry out with water in all its shapes (baths, sprinklers, lakes…). But other dimensions are hinted at: an exploration of its meanings for mankind, a kaleidoscope of its movements, textures, and reflections, a spectrum of the scales in which it is to be contemplated. (Nathan Letoré)

El tercer paisaje / The Third Landscape is a film project that has as its protagonist the fungus that made the painted forest of Oma sick, the work that the Basque artist Agustín Ibarrola carried out in the 80s in the province of Bizkaia. This artwork belongs to the Land Art movement, which is mainly characterized by its ephemeral nature. Within this current, artists leave their works exhibited at the mercy of weather conditions and other elements alien to human will.

An adaptation of “Sea Foam”, a chapter from Cesare Pavese’s “Dialoghi con Leucò” published in 1947. The ancient Greek poet Sappho and the nymph Britomartis meet beside the sea and have a conversation about love and death. Sappho is said to have thrown herself into the ocean from lovesickness. Britomartis apparently tumbled off a cliff and into the water while fleeing from a man. Together, the two discuss the stories and images that have emerged around them to try and understand, at least for a moment, the bittersweet nature of desire.

A strange weapon of optical complexity is able to project an enormous dazzling light over the territory. Precisely aimed, the ray can cause the spread of colossal heat, enough to destroy everything. The night is extinguished, the earth burns, the creatures run away groping towards the depths of the world. In the dark holes of the earth the space expands enough to imagine a refuge where another imaginary may appear.