Alauda Ruiz de Azúa holds a degree in English language and Literature from the University of Deusto and got her Diploma in Film Direction from the ECAM in 2005. Her final graduation project, Clases Particulares (2005), participated at more than 100 festivals and reaped 30 festival awards. She has worked as an assistant director and script supervisor on TV series for production companies like Globomedia. In 2007, she shot the short film, Lo importante, which was acquired by Canal +, selected at 30 festivals, and picked up 12 awards. In 2011 she wrote and directed Dicen (They Say), shot in New York, which became the biggest award-winning Spanish short film of the year. Selected at over 160 festivals and winner of 50 awards. Her last short, Nena, was selected at more than 90 festivals, and picked up 7 awards.
Manuel Calvo has carried out his work as a producer through Encanta Films, with which he’s produced 3 feature length and 9 short films to date. These works have received more than 260 awards, including 3 Goya Awards, 1 Golden Meliés, 1 Silver Shell, the Special Jury Award from San Sebastian and 2 Forqué Awards and they have been selected at over 700 festivals including some of the most important in the world, like San Sebastian, Locarno, Clermont-Ferrand, Tribeca, the New York Film Festival, the Los Angeles Film Festival, BAFICI or Rotterdam.
He combines his career as a producer with that of a 1st Assistant Director, working with prestigious directors like Pedro Almodóvar, Isabel Coixet, Javier Fesser, J.A. Bayona, Daniel Sánchez Arévalo, Benicio del Toro and Emilio Estevez, among others.
Paula is a new mom. David, her partner, is a traveling salesman and is usually away from home. Paula’s parents live far away from her. After a few months, she feels more and more alone and that she’s a bad mother. One day, Paula falls apart while talking to her mother, who decides that she and the baby should go spend a few days with them. Paula lets herself be loved and taken care of at her parent’s place. Her relationship with her mother is close even though Paula has never completely understood her. But their family roles suddenly change when Paula’s mother is diagnosed with cancer. Paula decides to stay and take care of her and in a few months, she will find herself living the same life her mother had lived when she was her age. In her thirties, taking care of a baby and a sick woman. Paula, who simply loved her mother until now, will start to understand her.
This story is born from a very specific, vital moment: the year when I was a mother for the first time. As a person, I was surprised by many new emotions that I had to address. I decided to tell the story of the process through which a first-time mother, in crisis, winds up understanding, thanks to her motherhood itself, her own mother in a way that she could never imagine. And the heroine’s mother isn’t just any mother. She’s a mother from a generation of women who stayed at home and became lonely, invisible caregivers. Women who are rarely protagonists of anything and who I want to turn into the backbone of this story.
When Alauda showed me Clases Particulares, her final graduate project, I was very impressed. Since then, I have accompanied Alauda as a director, producing all of her fiction projects. When I read the screenplay to Cinco lobitos, I was delighted from the first moment. Just like Alauda, I was also recently a new father, and I could closely relate to the story it tells. But I also think it’s a project that many viewers can relate to because anyone who isn’t a Mother or a Father is a Son or a Daughter and it talks about real people’s real problems.