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Barcelona changes and lots of people are not part of the new urban landscape that is being planned. Pedro Vazquez is about to turn seventy and he is forced to leave the unhealthy apartment where he lives in the Old Quarter. But, where will he go?
“In my cell, I had a bed, a small table, and a closet. And every night, a demon showed up from behind the bars, looking and laughing at me”. Pedro Vazquez finds himself restricted in every possible way, yet he won’t negotiate his freedom. Antonio Trullén joins him in that stubbornness, and every shot of Vázquez becomes a place of resistance. He can be compromising his own health in a bar, wandering around at night, or shouting either at a person who comes to collect his rent, or at public buildings. Regardless of his health, Pedro knows the end of him has come a long time ago in the community he lives in. So, he contemplates it in pain, as if fallen from history like a character in a western, but also with a certain vindictive impunity. He curses it from the outside now, like a demon coming across the bars and laughing at the new inmates. DA
D, G, F, DA, S, P, PE: Antonio Trullén E: Antonio Trullén, Valeria Stucki I: Pedro Vázquez, Esmeralda, Mami Watanabe, Losan
Playtime Audiovisuales. Natalia Piñuel T +34 687 095 212 E natalia@playtimeaudiovisuales.com W playtimeaudiovisuales.com
He was born in Barcelona in 1980. He studied theory of literature and compared literature at the University of Barcelona and the New Sorbonne in Paris, as well as film editing at the National Institute of the Arts of Spectatle in Brussels (INSAS). Carmona Has a Fountain is his first work as a filmmaker.