Paz Piñar, Spain, 2014, 12 min.
The family party as a cathartic macguffin. Almost a sub-genre concentrated here in two tempos: the contained tension of intimacy and its reflection in the public explosion, with a final nod at the news pages.
TRES TRISTES TIGRES
Bea Hohenleiter & Bruno Ojeda, Spain, 2014, 10 min.
In order to talk of love and its difficulties you have to break the rules. Dissociate sound and realism, for example, or risk everything in the explosion of each alternate shot. For Miguel Gomes, it turns out well. For these three tigers too.
Antonio Álamo, Spain, 2014, 11 min.
Unit of time, unit of place, two human characters in front of the camera and their two canine projections out of frame, stretching the will and the emotions to the limit of perversity. Masterly dramatic exercise.
Biktor Kero, Spain, 2014, 15 min.
This film revisits clichés about the post-apocalyptic fable to contrast once again a humanist and even hopeful discourse with the roller of progress. If it is told and portrayed well, as is the case here, the formula is still interesting.
Carmen Jimenez, Spain, 2014, 14 min.
In the dehumanized void of a setting that could recall the Edificio Máster of the late Edoardo Coutinho, the thriller transcends its anecdote to become a parable of neighbourly horror before we cover our eyes.