Producer: Eduardo P. Goñi y Gwai Lou
Director / Scriptwriter: Gwai Lou
Photography: Gwai Lou, Daniel Vergara and Kike Ineva
Sound: Manuel Álvarez
Editing: David Yáñez
Sound mix: Christian Salvador
VFX / Color: David Yáñez
Music: (Lovers Turn To Monsters + VV.AA. Adapted music)
Saúl Blasco, Mireia Sabadell, Victor Vázquez, Laura Contreras, Sonia Deluis, Javier Zapater, Alba gallego y Pepe Gros.
Disappear talks about the acceptance of death as a decisive step towards adulthood, and specifically about this "passage ritual" in the "Millennial" generation; since they have had to grow up seeing life through a screen.
Disappear is the story of a group of twenty-year-olds who, in their prime, are shattered by a car accident in which one of them dies. All those shards make up a fresco which, in the style of jazz improvisation, aims to portray something as personal and universal as the uncertain passage from youth to adulthood. The moment when you are able to see your life from the other side; in this case, from the other side of the video screen.
Disappear is an elegy about youth. Life itself is a sort of elegy. The expression "Law of Life" defines it concisely: life hurts, but you don't know that when you're young. It is death that teaches us this.
At the same time, in this film, I try to explore the different ways of accepting the grief of a generation whose emotional education is built around technology and screens. The first generation that is both an actor and a spectator of itself at the same time.
About the film:
Disappear was born out of a true story. Or better said, a memory.
I always work from what I know, because I like to feel emotionally attached to the material I work with. I don't think I do it in a conscious way, but I don't avoid it either. For me there are no other worlds outside of the one I live in, and all the stories of others that interest me do so because they are my own in a way.
When I was in the University, one of my friends was killed in a car accident. They were coming back from a party and had been drinking. Another friend called me to give me the news. He now lives in the UK, he is one of the thousands who have gone into exile in search of a future elsewhere. I live in Kuala Lumpur, and we call each other from time to time, trying to ignore the 6 hours difference. That day, my friend and I, running away, I guess, from thinking about it (actually when one is young it is so stupid that it is incredible that a few of us survived) bought a record. That record would become a kind of anthem to all that which was lost. The album was "Una semana en el motor de un autobús" by the Spanish band Los Planetas. A record that always reminds me of my dead friend. One of the songs says: "if you try hard, you can disappear".
When I told my usual collaborators about the project, I warned them that I wanted to make a film in which we would signify the interval of time in which we become adults, and that, therefore, we would use time, as well as the camera as a working tool.
Armed with a series of notes of no more than 40 pages, we started working on improvisations. Time gave us the rest.
The disheartening situation of young Spanish creators and the rampant unemployment that plagues all film-related professions (especially actors) gave us the opportunity to carry out a project over many many months. A (unpaid) collaboration between artists seeking to find a way to answer a question I first posed to them in 2016.
Some of the scenes that make up to the film just came up by chance, others are the result of refining an idea or a motivation over several days of shooting, some others are mere experiments between collage and found footage. however, I think the result has a solidity that speaks for itself. I truly see my generation on this story.
Cineramabc (Brazil) - Special Prize of the Jury
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