Selected – I Edition
He is born and starts his studies in Murcia, the city where he enrols in the Audiovisual Communication Degree and where his interest for film begins. Afterwards, he moves to Madrid where he graduates from the ECAM, in the Documentary Filmmaking discipline.
His first short movie, Ojo Salvaje (2015), has been presented in more than thirty international film festivals with great reputation such as IDFA and FIDOCS, where he won the Grand Jury Award, and national festivals like DocumentaMadrid and Zinebi, being awarded with ten prizes among which are included the Renard de Or in the Paris Film Week and the Second Prize City of Alcalá in the ALCINE Festival. It was selected by the Caimán Cuadernos de Cine magazine as one of the best short movies of the year 2016, and has been analysed in means of communication such as Cinemanía, Cortosfera and Filmin.
In 2016 he co-directs, as part of his final assignment in the ECAM, the documentary film Yu Gang, filmed entirely in Mandarin Chinese and premiering in the past Málaga Film Festival. It was selected as one of the 7 finalists of the Rizoma Festival and it is still in its distribution phase.
Sara, who was born in Leganés (Madrid), has shown interest for the audiovisual language ever since she was a child. That inquisitiveness pushed her to start her studies in Audiovisual Communication at the Complutense University of Madrid in 2008. After that university experience, she completes the Diploma in Production at the School of Cinematography and Audiovisuals of Madrid (ECAM).
Cachorro was the final project of her studies at the ECAM and her first short film as an executive producer. This project, which was shot on 16mm film, has been awarded the Special Jury Prize at the XX Festival de Malaga. It also obtained the AISGE Award for the best actress in the Versión Española-SGAE 2017 short film contest and the ASECAN prize for the best Andalusian short film 2017, among other awards. In addition, it is getting far across national and international film festivals, having been selected in the Festivals of Medina del Campo, ALCINE and more recently the MECAL Barcelona Film Festival.
In 2016 she started, along with five other bold young people, the Mammut production company. She has been combining her jobs in the film industry with the tasks of her own production company.
After graduating from Audiovisual Communication at the UJI (Castellón), Álvaro Díaz Calvo (Puerto de Sagunto, 1989) started his production studies at the ECAM, completing them with a special mention. Since then, he has been working in different production teams of feature films such as El hombre de las mil caras, by Alberto Rodríguez (Atípica Films, Atresmedia), Plan de fuga, by Iñaki Dorronsoro (LaZona Films and Atresmedia), 7 años, by Roger Gual (Cactus Flowers Productions) or El guardián invisible, by Fernando González Molina (Nostromo Pictures and Atresmedia).
His work as a production manager stands out in short films such as La Hora del Baño (2014), by Eduardo Casanova or They Will All Die in Space (2015), by Javier Chillón, which has gone to more than one hundred international festivals, winning awards such as the best short film at the Sitges Film Festival. As well as the feature film El increíble finde menguante which is still in its postproduction stage.
Born in Onda, Castellón, Alberto has shown curiosity for the audio-visual world from a very young age. He studies Audio-visual Communication at the Jaime I in Castellón, attending his fourth year at the Beira Interior University in Covilha, Portugal, and fifth in the Carlos III University in Madrid. Once he graduates, he enrols in the ECAM, School of Cinematography and Audiovisuals of Madrid.
He drops out of ECAM in 2014 for a position in the TwentyFour-seven advertising production company, where he collaborates with directors such as Andy Fowill, Emmanuel Chivo Lubetzki or Alejandro Amenábar. He leaves the company after 4 years producing advertisements.
He is currently combining his work in Mammut with freelance jobs in the advertising sector.
Finita, an 84-year-old woman, lives by herself in her home in Torrevieja, a town in Alicante (Spain), known for its beaches and low-cost tourism. Finita has a boyfriend named Manfred who lives two thousand kilometres away, in Eppenheim (Germany) to be precise. The two of them maintain a long distance relationship and speak on the phone every single day at 8 o’clock in the afternoon.
In one of their conversations, Finita tells Manfred that she has found some old Super 8 tapes at home. Finita proposes Paco, her grandson and director of the film, the possibility of watching whatever those tapes might hide together.
In the tapes they discover a family party recorded in 1980, the first birthday of the first grandson of the family. The images of the celebration are a live postcard of Spain in the 80s, in which everyone toasts joyfully as they smile at the camera. The scene where the images where documented stands out, the same living room in which they are now watching the footage, but 30 years earlier.
Finita and Paco decide to tackle the difficult task of going back to the past through the images, memories and scenes which sometimes are empty and other times are full of people.
In The Garcias, I want to continue to bring apparently opposing things face to face, reaching drama through comedy and taking a journey designed to see if it’s possible to represent the past by buying it at Ikea. With the help of my 83 year old grandmother and stock footage where everyone seemed happy, I will try to put together a family that, through life’s coincidences, is also mine: The Garcias.
We’ve been following Paco Nicolás’ career since our formative years at the ECAM. His documentary short film Ojo salvaje (The Rate’s Cut) delighted us for the way it turned a familiar story into a genuine meta-cinema exercise. Paco’s courage to mix reality and fiction, using real people as a starting point, makes The Garcias an extremely interesting project for Mammut.