Far form the trees
L'animal a l'esquena (Celrà)
From 22/04/2025 to 02/05/2025
Meritxell Colell, Angélica Castelló
( Meritxell Colell, Angélica Castelló )
L'animal a l'esquena (Celrà)
From 22/04/2025 to 02/05/2025
Meritxell Colell, Angélica Castelló
( Meritxell Colell, Angélica Castelló )
This is a continuation of the work carried out at previous residencies at L’animal.
After the first residency at L’animal in 2021, and the ones that followed, they now return to continue working on the sound and the script for the film.
“The human body is not a closed, static object but an unfinished entity, interconnected with the ground, the waters and the winds that pass through it: a wild creature whose life depends on the multitude of lives that surround it and the changing tides that run through it”.
(…)
“We can perceive the world around us only because we are a part of that world, because - due to our dynamism and carnal density - we are completely immersed in the depths of earthly sensitivity”.
Becoming Animal, David Abram
After the first residency at L’animal in 2021, and the ones that followed, they now return to continue working on the sound and the script for the film.
“The human body is not a closed, static object but an unfinished entity, interconnected with the ground, the waters and the winds that pass through it: a wild creature whose life depends on the multitude of lives that surround it and the changing tides that run through it”.
(…)
“We can perceive the world around us only because we are a part of that world, because - due to our dynamism and carnal density - we are completely immersed in the depths of earthly sensitivity”.
Becoming Animal, David Abram
After years of research, Adela (50) succeeds in realising her dream: to restore the honour of her grandfather and set out on a journey through the landscapes of the Andes to collect languages in danger of extinction. The death of her grandmother in Mexico carries her to the land of her childhood in dreams full of ghosts and fantastical beings.
Lejos de los Árboles is, first and foremost, the portrait of a fifty year old woman: Adela. She has had to renounce the place she came from in order to dedicate herself to what she loves. An artist, a pioneer in her art. Together, we have discovered common ground based on personal experiences, but which allows space for fiction. This is a story about the legacy of exile, uprootedness, the wounds inherited from a war, identities cut short. In a way, the film is a letter to all those people we haven’t been able to say goodbye to and, at the same time, a tribute to a generation who lived in silence, a silence of horror that affected their wives, their daughters, and so us too, we blank slates who have had to investigate and ask questions elsewhere in order to understand them and so ourselves. Lejos de los Árboles tries to recover family histories like that of my family, stories of suffering but also of deep desires and yearnings. For us, Lejos de los Árboles is a story of love and reparation.
The film is structured around an artistic collaboration between different disciplines, so that it is enriched both in its narrative and the originality of its purpose. All the more, since we are talking about great artists of international renown, such as Angelica Castelló, who is a legend in the art of sound and oversees the soundtrack of the film. We are also working with artists Cecilia Paredes and Paula Bruna to discover the whole fantastic, dreamlike universe of the film.
Angélica Castelló will be the composer on the film and also play the protagonist. She is a Mexican sound artist who has lived in Vienna for thirty years. With wide experience both as a composer and as a weaver of sound maps, her work concentrates on electromagnetic weavings in which each knot corresponds to a sound. Her work, in dialogue with other artists, proposes weaving a quipus (an ancient document from the time of the Incas, which takes the form of a piece of weaving) from magnetic tapes that hold Latin American languages in danger of extinction.
Lejos de los Árboles is, first and foremost, the portrait of a fifty year old woman: Adela. She has had to renounce the place she came from in order to dedicate herself to what she loves. An artist, a pioneer in her art. Together, we have discovered common ground based on personal experiences, but which allows space for fiction. This is a story about the legacy of exile, uprootedness, the wounds inherited from a war, identities cut short. In a way, the film is a letter to all those people we haven’t been able to say goodbye to and, at the same time, a tribute to a generation who lived in silence, a silence of horror that affected their wives, their daughters, and so us too, we blank slates who have had to investigate and ask questions elsewhere in order to understand them and so ourselves. Lejos de los Árboles tries to recover family histories like that of my family, stories of suffering but also of deep desires and yearnings. For us, Lejos de los Árboles is a story of love and reparation.
The film is structured around an artistic collaboration between different disciplines, so that it is enriched both in its narrative and the originality of its purpose. All the more, since we are talking about great artists of international renown, such as Angelica Castelló, who is a legend in the art of sound and oversees the soundtrack of the film. We are also working with artists Cecilia Paredes and Paula Bruna to discover the whole fantastic, dreamlike universe of the film.
Angélica Castelló will be the composer on the film and also play the protagonist. She is a Mexican sound artist who has lived in Vienna for thirty years. With wide experience both as a composer and as a weaver of sound maps, her work concentrates on electromagnetic weavings in which each knot corresponds to a sound. Her work, in dialogue with other artists, proposes weaving a quipus (an ancient document from the time of the Incas, which takes the form of a piece of weaving) from magnetic tapes that hold Latin American languages in danger of extinction.