Selected – 4th Edition
The dashed line
Pontevedra, 1992. She studied Audiovisual Communication at University of Vigo, a Master in Film Directing at ESCAC and a Master in Contemporary Art, Creation and Investigation at UVigo. A Estación Violenta is her first feature film. It portrays the adaptation of the homonymous novel by Manuel Jabois, produced by Matriuska. This film traveled through International Festivals, such as BAFICI in Buenos Aires, and SEFF in Seville. In 2019 the short-film Analóxica produced by Erika Lust was released and is programmed in competitive sections from BAFICI and Curtocircuíto IFF. She created alongside Silvia Fuentes, the production company Sétima, from where she now works on the development of her new film.
She has a degree in Audiovisual Communication from the University of Vigo and also studies at the Complutense University of Madrid. She studies the PROA-Blanquerna Executive Production Master’s Degree in Barcelona. In 2018 she founded, along with her partner Anxos Fazans, the production company Sétima and combines her labor as executive producer with the position of production manager and production director in projects from other production companies. She was previously the production manager on ¿Qué hicimos mal?, a feature film produced by Avalon, Matriuska Producciones and Miss Wasabi . She holds the same position in the film La Estación Violenta by Matriuska Producciones, directed by Anxos Fazáns and in the short films by Álvaro Gago Matria and 16 de Decembro, both candidates for the Goya Awards. She was also part of the production team for the films Lúa Vermella, directed by Lois Patiño and produced by Zeitun Films, and Arima directed by Jaione Camborda and produced by Esnatu Zinema. During 2020 she works for the successful independent film production company Lastor Media.
Two people who belong to apparently very different universes meet. And they end up seeing each other as if in a mirror. Bea is a 50-year-old woman, mother of a little girl, kindergarten teacher and former member of a rock band. She is simultaneously dealing with mourning the death of her father and the divorce process with her husband.
Denís is a 25-year-old transgender boy who is desperately looking for a job. After arguing with his girlfriend and leaving home, he starts a life of crime, breaking into houses to steal. Bea would like to live in the countryside. Denís would like to be an illustrator.
They meet when he breaks into her house. Despite the improbability of the circumstance, a strong complicity and attraction arises between them. They spend the whole weekend together, and by the time they return to their lives they are no longer the same.
The dashed lines allow crossing the border, going off the road to go forward or change direction, they separate and connect the intimacy of the skin.
When I met Mayo I already had this story in my head, inspired by an actual news story in which a burglar breaks into a house and falls asleep; the owner finds him, calls the police and the burglar ends up in prison. But in my story, I wanted to ask whether there would be anyone who didn’t judge the burglar, but that created the opportunity to approach, get to know and understand that person.
Mayo got in touch with me after the premier of my first film. She told me she believed I would be interested in hearing her story: one year earlier she had been diagnosed with Borderline Personality Disorder after several suicide attempts, had spent time in therapy and felt that she should share her experience. A few days later, I recorded a conversation between the two – we hit it off at once, the dialogue flowed, we opened up completely. I also discovered that Mayo was transitioning and used a masculine pronoun. Since then we meet once a year, stay in touch and we recently confessed to each other how that first meeting changed our lives and how important our friendship has been over the last few years.
I connected with Anxos right from the start, with his strength and his gaze. The dashed lines represented the first time he was developing his own script and facing the challenge of establishing his perspective and his filmmaking. Together we pursued the aim of developing that type of cinema that excites us, European cinema with a markedly art-house feel that was also capable of reaching audiences.
The years have passed and the Silvia who proposed rational solutions to the riddle of the sleeping burglar has learnt to break down the walls we construct to protect ourselves; in the knowledge that the demolition of these walls entails the hope of seeing yourself in someone else. We are making this film to cure ourselves too, to watch a story on the screen that we want and fervently believe can occur.