Paula Mirá

The year 2000. Maya, a young Londoner, goes to the small village of her Spanish girlfriend, Ruth, who has just died in an accident. She wants to say goodbye, but the shock and anxiety of presenting herself as the “foreign girlfriend” to family and friends she doesn't know and who speak a different language, is compounded by the perplexity of discovering that nobody knows who she is.

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Alicia wants to record her father's birthday. The camcorder inadvertently catches him crying, and in anger, he tears up the videotape. By destroying it, he disappears from reality. Alicia, her sister, and her mother have to cooperate by reconstructing the tape to bring him back, exposing a major wound in their relationship.

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Alma is fifteen years old, she sings in the town choir and begins to connect with her sexuality. Her father, Kike, director of the choir, has lost his voice due to a laryngectomy. As the concert they prepare together for the summer holidays draws near, tensions rise between father and daughter.

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Tito, a neighborhood boy that everyone is always teasing, wants to prove his worth. He’s already been through several initiation tests, and he is now doing car donuts in a vacant lot around his neighborhood with his new “friends” after pulling an all-nighter.

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Madrid, April 2020. Covid-19. A girl, at home, is bored. A boy feels lonely in his room. They don’t know each other, but imagine each other on a chat. And while they do so, they start a journey in space and time trying that will take them away from their enforced lockdown.

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A group of urbanites flee the city for different reasons: existential, economic crisis, need for fresh air, search for peace, inspiration to compose ... The intention of these strangers is to settle in an abandoned town and start their lives from scratch, but when they arrive they discover that there are still some neighbors: rural people with a very different way of seeing life.

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