[INFLUENCES]

No creation emerges from nothing. [NO-RES] has many clear sources of inspiration that guide this project in different levels. Here are some of them: authors that we admire and that we want to share with you.

  • RICARDO ÍSCAR:
  • Probably the main living representative of the so called Ethnographic Cinema, late follower of Robert Flaherty and former student of Jean Rouch. Íscar searches a pure gaze over customs and ways of living that human beings have created over the centuries and that nowadays are seriously endangered through massive development and modernization.

  • MERCEDES ÁLVAREZ:
  • She surprised everyone with her first feature film: The Sky Turns (2004), a very intimate work that tells of a space that will soon disappear: the village where she was born. Despite using a voiceover that helps us understand her discourse, Alvarez selects very strictly only these scenes that talk for themselves so that every image in the film has its role in the whole.

  • JOSÉ LUÍS GUERÍN:
  • One of the main representatives of the so called non-fiction. For Guerín there’s no difference between documentary and fiction, that’s why he makes documentaries with a whole cinematographic treatment and vice versa. The film En Construcción (2001), portraits de process of disappearance of a small district of Barcelona, just as we do in [NO-RES].

  • MARC SINGER:
  • Dark Days was the first film from Singer and it became a revelation as it won the prize of the public in the Sundance Festival 2000. Dark Days portraits a very peculiar space of New York: the underground, where a whole community of people has built some kind of peaceful village. Filmed in a direct cinema style, Singer shows the everyday life of this microcosms, getting very close to its charismatic characters. A great lesson for [NO-RES].

  • WERNER PENZELS / NICOLAS HUMBERT:
  • Collaboration of these directors gave birth to the master work Step Across the Border (1990), a documentary film about the improviser Fred Frith and all the artists that surround him in New York. The treatment of sound in the film is the true thread of the story: a narration exercise that we would love to apply in [NO-RES].

  • MICHAEL HANEKE:
  • Austrian author with an extensive filmography, mainly fictional, Haneke also uses documentary in certain scenes of his films. Code Unknown (2000) is specially interesting for us because of his way of narrating stories. Despite being a fiction with professional actors, the camera films in a pure observational way, as if it was a hidden camera. That puts the spectator in the situation as if he was a witness, without giving any explanation about what’s happening in front of the objective.










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