Jo Sol, producer
Leo Dolgan and director of photography (and coproducer)
Daniel Vergara were making a pitch for their nascent project. Months later, it cropped up at Abycine Lanza, where it was presented with the MAFIZ award. The finished film made its global premiere at the 2020 Black Nights Festival in Tallin (leaving with two prizes: the Best Film award from the Ecumenical Jury and Best Soundtrack), enjoyed an exultant run at the Nantes Spanish Film Festival and has now touched down in Barcelona for the D A Film Festival, just weeks before it is scheduled to go on general release on 28 May.
The DâA festival is hitting the road: from Barcelona to Madrid via Filmin
Bye Bye Morons by Albert Dupontel
D A, the Barcelona Auteur Film Festival, is back for an 11th edition â and in actual cinemas, too. Between 29 April and 9 May, the festival will offer a hybrid format, with screenings in cinemas in Barcelona (62 feature films and 26 shorts) and 37 titles available to view on the Filmin platform. This year, itâs also making a flying visit to Madrid: between 7 and 13 May,
madrileños will have a chance to catch twelve of the festivalâs most outstanding films at participating Renoir Plaza España cinemas.
Jo Sol (discovered in competition at Tallinn). With screenwriter Alicia Luna as its president, the jury underlined the force and originality of two films with similar qualities: the radical primacy of the images over the dialogue, a sumptuous cinematography which made us all regret the fact that we could not discover these films on the big screen, the vibrant and infinitely touching presence of nature, and in particular of the animal world. One in the genre of the horror film poetically revisited (
Baby), rich in sumptuous colours; the other (
Armugan), a philosophical and profoundly humane fable, in a black and white just as sumptuous.”
Jo Sol (discovered in competition at Tallinn). With screenwriter Alicia Luna as its president, the jury underlined the force and originality of two films with similar qualities: the radical primacy of the images over the dialogue, a sumptuous cinematography which made us all regret the fact that we could not discover these films on the big screen, the vibrant and infinitely touching presence of nature, and in particular of the animal world. One in the genre of the horror film poetically revisited (
Baby), rich in sumptuous colours; the other (
Armugan), a philosophical and profoundly humane fable, in a black and white just as sumptuous.”
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