Whereas Locations and wanders can be seen as a route through space (as well as a set of annotations for a possible script), this fascinating document of a later date is a route through a visual universe. Film frames, pictures, references, lightweight shoots and location photographs are used by Jonás Trueba to procure the images, body language, looks, atmosphere and feelings associated with each winter sequence. Two pages are included at the end devoted to summer so as to make present the past.

This is a crucial document for the director so as to allow him to “see” the film before shooting it, as well as for the team, particularly where photography, art and costumes are concerned. In fact it is made up in collaboration with Miguel Ángel Rebollo, art director and costume maker Laura Renau, colleagues and friends with whom Jonás shares his films (and searches) right from the onset so they share the hunt of locations, images, colours…

Herewith a selection of the 27-page document. 

The meeting / the letter

Composition including the essential sequence elements: the steps of Cuesta de los Ciegos towards Las Vistillas, winter and trees, the letter, Francesco Carril (in Los ilusos, Jonás Trueba, 2013) and Itsaso Arana (in Las altas presiones, Ángel Santos, 2014), several frames of L’Histoire d’Adèle H. (François Truffaut, 1975) reminiscing that indelible love, and the reading of the letter, depicted by Tom Hunter (Woman reading a possession order, 1997).

Night outing / Berrio’s concert

Photographies and frames of night bars, bodies, drunkenness, hidden sorrows:(from left to right)two photographs of Amour sur la Rive Gauche by Ed van der Elksen (1954), the photo of a New York bar by Robert Frank (1949), Alberto Giacometti and Caroline Tamagno at bar Chez Adrien, frequently drawn by Giacometti (c.1950), Le bal des Quatre-Saisons. Rue de Lappe de Brassaï (1932); and two frames of Sunrise (Friedrich Wilhelm Murnau, 1927), L’Atalante (Jean Vigo, 1934) and Les amants réguliers (Philippe Garrel, 2005). Also (first on second row) a frame from videoclip de Dom La Nena singing “Buenos Aires”, which Manuela (Itsaso Arana) will play and sing softly in the bar.

The following page refers to photos of Fidula in Huertas Street included in Locations and Wanders.

Back home / motorbike ride from Vistillas to Amaniel Street

The reference in this case is literally a shot. Jonás Trueba filmed with a light camera in order to explore Olmo’s route on his motorcycle, between Cuesta de los Ciegos steps and his home, after leaving Manuela. Then, he included wenty-four frames from this shot in the document. We recognise this previous search in the film: is one long, single and moving shoot accompanied by “Arcadia en flor” by Rafael Berrio, who composed the song specially for the film. As if dancing, the camera and Olmo’s motorbike alternate their distance (to the extent of melding movement and zoom), and they could only made one take, looking for the very early light of a winter morning.