“La quietud de un bosque en espera recoge la tradición oral de quien lo transita: fantasías que desvelan las esperanzas puestas en un futuro incierto, soñado”
[Leer más...]
Cristina Aparicio. Caimán Cuadernos de Cine
“By making the refugees not characters, but co-creators of the film, it becomes obvious that ultimately, the greatest form of revolt is collaboration”
[Leer más...]
Diana Mereoiu
“A participatory, collaborative script travels between bleached sea and golden forest, merging mythical fragments, colonial memories, and migration realities”
[Leer más...]
Jurado del Tiger Awards Competition Short Films, Rotterdam 2016
Close to the coast, in a bordering land of North Africa, a group of men await the moment to continue their journey to Europe crossing the sea. Here, in this place of waiting, they clash with the idea of performing a film. In the woods, tales from remote times merge with a present static time.
Title: Tout le monde aime le bord de la mer
Internacional title: We all love the seashore
Genre: Documentary
Runtime: 17 minutes
Shooting Format: 3K
Screening Format: DCP 2K
Country of production: Spain
Original language: French · Pulaar
Subtitles: English · French · Spanish
Filming locations: Ceuta · Strait of Gibraltar · North Africa
Produced by: El Viaje Films
Production year: 2015
Release Date: 30 January 2016 (International Film Festival Rotterdam)
Color: Color
Sound: Dolby 5.1
Funded by: European Commission within the 7th Framework Program (EUBORDERSCAPES, FP7-SSH-2011-1-290775) · Universitat Autònoma de Barcelona (UAB, Department of Geography)
Director: Keina Espiñeira
Writer: Keina Espiñeira and Samuel M. Delgado
Production: Lourdes Pérez
Cinematography by: Jose Alayón
Film editing by: Samuel M. Delgado
Sound: Raúl Espiñeira
Assistant director: Mireia García
Colorist: Ignacio Fernández
January – December 2016
January – November 2017
In this work I was interested in painting a picture of a place where certain trajectories become suspended in space and time. The main characters are travellers heading to Europe from Africa, when they arrive they enter into an uncertain period of waiting before they can cross the sea. The film explores this limbo via nomadic landscapes like the forest and the sea. During filming we discovered that every one of these landscapes fostered a different narrative tone. We had an intuition that that this could work, that the forest is where the myths were to be told and the sea is where we can play with a more realistic register. I think that these connections of past and present marked by the landscape open up a suggestion of a collective imagination in order to paint a picture of contemporary borders.
Keina Espiñeira