Selected – I Edition
Javier Marco is a Telecommunication Engineer with a postgraduate in
Film Directing. He has shot music videos, commercials, promos and short films like El Vestido, Ella, Classmate, Tú o yo, Casitas, Voluntario, 3 minutos, and La soledad de la luna.
He has won more than 200 international and national awards like Tribeca New York (USA), Festival Ibérico de Cine (Goya Qualifying), Festival Iberoamericano FIBABC, New York Film Festival (USA), Almería en Corto, Manchester Film Festival (UK), Social World Film Festival (Italy), Festicine Pehuajó (Argentina), RNE and Notodofilmfest among others. He is currently working on the preproduction of his first feature film Josefina.
His passion about cinema led him to study Screenwriting in Universidad de Girona. When he was 24, he moved to Madrid for continuing his Media studies in Universidad Rey Juan Carlos. Over the years he became a part of the crew in different TV programs as Cuéntame cómo pasó or Sin tetas no hay paraíso. In cinema, he started working in short-films, films and advertising. In 2011, he created his own production company, White Leaf Producciones. He produced short-films as Al otro lado (2013), Luz (2015), Yo amo (2016), Derbi (2018) and Australia (2017), recently nominated for a Goya for the Goya Best Fiction Short-film.
In 2017 he release his first fiction featured film as a producer, No sé decir adios, directed by Lino Escalera, an award-prizing success (Festival de Málaga, Festival Internacional de cine de Almería, Feroz awards, Forqué awards and a Goya award winning for Nathalie Poza, the leading actress).
Graduate in Media studies from Universidad Complutense de Madrid and with a Script creativity Master’s Degree from Universidad Rey Juan Carlos and Globomedia. Scriptwriter of shortfilms as Uno, El vestido, Ella, Classmate, Casitas, Voluntario, Tú o yo and 3 minutos, she has won more than 200 awards in national and international film festivals, highlighting the Best screenplay award in Festival Ibérico de Cine or the Best original screenplay award in Festival Almería en Corto. Josefina, her first featured film script, has been selected in different script-labs as Cima Mentoring, I+P Custer Gallego or La Ventana del cine Madrileño. It has also been awarded in Madrid CreaLab, Dama Ayuda and it has been selected by Festival Abycine Lanza.
Josefina doesn’t exist, she is just a lie that has emerged from a man’s head. She doesn’t have skin, or flesh, or bones… but she does have a voice. A voice that will be responsible for telling us about this story and its characters.
Juan is fifty, he’s a prison warden and he’s in love with Berta, the mother of one of the prisoners. He has never spoken to her, he only dares to look at her through a security monitor every Sunday. Berta spends most of the day shut away in her apartment, sewing clothes for individuals and for the outfitter’s on the ground floor of her apartment building. That Sunday, like every Sunday for the last two years, she gets up at 6:00 a.m. to make a potato omelet. After two hours on public transport, she waits in a long line of prisoners’ relatives and then sits across from her son Gorka in a cold room in the Alcalá Meco prison. Gorka always appears with a new bruise or with a sadder face than the week before. This time, as a punishment for her son’s bad behavior, an order from above means that the guards won’t let Berta bring in the container with the omelet she had cooked for him. While Berta waits for the bus, Juan watches her from his car. When Gorka goes back to his cell, he finds a container on top of his bed. Inside are three quarters of his mother’s omelet. The other quarter is turning around in the microwave in Juan’s apartment. While he’s having supper, Juan imagines that he’s eating across from a smiling Berta. The reality is very different. Berta is sewing at her machine, surrounded by threads, fabrics and patterns. Her husband, Antonio, is sleeping in the next room. He has been confined to bed for the last few years because of illness.
The story for Josefina was born on an inter-city bus… during a short commute the screenwriter and I took around the outskirts of Madrid. The atmosphere inside, full of people going to visit their relatives who were inmates at Soto del Real prison, is the essence of the film.
The screenplay for Josefina reached White Leaf over a year ago, provided by its director. I was able to read it calmly, knowing full well what style of film Javier had in mind. A few weeks later, we met and I suggested producing the movie to take it to the big screen. It’s a screenplay containing a truth that gets you hooked. With a story that gets to you straight away.