“There is an unhealthy curiosity in the way he watches a young warrior recovering from a mishap, waking up in the woods, beginning to wake up, getting her body moving again, resurrecting from an unexpected false death, as if the closed worlds of the other films opened up here to another dawn, to a blinding light, to a new sense of cinema, which rediscovers itself ready for action.
Both Subirana and Marín, both Galter and Cañas, both Velázquez and Azorín, are already “consecrated” artists, even if only for one or two films, well-known and awarded: it seems that we already have them always in mind in this regard.
And yet they reappear now with films that reinvent them, that place them on the trigger as if they were starting over. This ability to restart or temporarily change a trajectory must be counted, then, among the abilities of this Spanish cinema”.
Carlos Losilla – Caimán cuadernos de Cine – November 2016-07-11
Both Subirana and Marín, both Galter and Cañas, both Velázquez and Azorín, are already “consecrated” artists, even if only for one or two films, well-known and awarded: it seems that we already have them always in mind in this regard.
And yet they reappear now with films that reinvent them, that place them on the trigger as if they were starting over. This ability to restart or temporarily change a trajectory must be counted, then, among the abilities of this Spanish cinema”.
Carlos Losilla – Caimán cuadernos de Cine – November 2016-07-11
“The light filters through the trees, the forest dawns a new day. The calm is interrupted by a bugle and the sound of galloping horses moving away.
The tired panting of the figure of an abandoned woman is heard; It is the awakening of the warrior. After Nadar (2008) and Volar (2012), Carla Subirana continues to explore war and its imprint on human nature.
Movement presides over this short film narrated through the body of its heroine. The initial clumsiness of the protagonist, crashing into the trees and rolling on the ground, is expressed with the sudden and uncoordinated movements of her joints.
When she continues to get rid of her armor, we see her face and hear music that accompanies her in her liberation process, now sliding, already in harmony, through nature. Using the Sanskrit term that gives its name to this story, “atma”, and which refers to the concept of soul, the director leads us to a redemptive ending where the recognition of wounds represents authentic victory”.
Javier Rueda- Caimán cuadernos de Cine – November 2016-07-11
The tired panting of the figure of an abandoned woman is heard; It is the awakening of the warrior. After Nadar (2008) and Volar (2012), Carla Subirana continues to explore war and its imprint on human nature.
Movement presides over this short film narrated through the body of its heroine. The initial clumsiness of the protagonist, crashing into the trees and rolling on the ground, is expressed with the sudden and uncoordinated movements of her joints.
When she continues to get rid of her armor, we see her face and hear music that accompanies her in her liberation process, now sliding, already in harmony, through nature. Using the Sanskrit term that gives its name to this story, “atma”, and which refers to the concept of soul, the director leads us to a redemptive ending where the recognition of wounds represents authentic victory”.
Javier Rueda- Caimán cuadernos de Cine – November 2016-07-11
“Between the narration and the performance, Carla Subirana traces a metaphor of empowerment through a wounded warrior who, after getting rid of her armor, revives and becomes the owner of her body.”
Synopsis of the SEFF-XIII European Film Festival catalog
Synopsis of the SEFF-XIII European Film Festival catalog