{"id":1630,"date":"2024-11-20T16:17:19","date_gmt":"2024-11-20T15:17:19","guid":{"rendered":"https:\/\/novoscinemas.com\/lab\/"},"modified":"2026-11-05T10:58:34","modified_gmt":"2026-11-05T09:58:34","slug":"lab-proyects","status":"publish","type":"page","link":"https:\/\/novoscinemas.com\/en\/lab-proyects\/","title":{"rendered":"Projects"},"content":{"rendered":"
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Alevos\u00eda<\/h2>

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In a world where screens are multiplying, exposure means that we are not only seen but also devoured in diverse ways. Who is watching us? How are we perceived? Alevos\u00eda<\/em> is a project that explores the collateral damage of fame, the pathology of fan phenomena, and the revictimisation provoked by the entertainment industry itself.<\/p>\n<\/div>

Direcci\u00f3n<\/div>
Sara Casasnovas<\/strong> is a Galician actress and filmmaker with an international career. Winner of the Best Actress Award at the Kimera IFF (Campobasso), the Festival de Cine Europeo de Castilla-La Mancha and FETEGA Award for Best Actress. Her most recent films include Romer\u00eda<\/em> (Carla Sim\u00f3n) and No Evidence of Man<\/em> (Joshua Porter). She has directed the short films Escarabana<\/em> (Official Selection at Sitges Festival, winner of awards at Fancine de Lemos, Xociviga and the European Fantastic Film Festival in Barcelona) and A xustiza pola man<\/em> (Temporada Alta Award, Girona). Her films combine fiction, documentary and performance.<\/div><\/div>
Producci\u00f3n<\/div>
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Estado<\/div>
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Cossos al buit<\/h2>

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Uma (7) lives with her mother, Siona (37), in an old country house in Catalonia. Her closest companion is Tresca, a rescued sow who becomes an almost maternal figure to her. Through this bond, Uma learns to read the forest and perceive the changes taking place across the land: factory farms, exhausted workers and a silent violence that affects both the animals and the people she loves.<\/p>\n<\/div>

Direcci\u00f3n<\/div>
Alba Bresol\u00ed Aliberch<\/strong> (1995, Muntanyola). A filmmaker and programmer, she studied Audiovisual Communication (UPF), Media & Arts at Bauhaus Universit\u00e4t (Weimar) and completed a Master's Degree in Creative Documentary (UPF). She works in rural and peripheral contexts, exploring spaces where forms of human and non-human resistance persist. Her short films El d\u00eda que volaron la monta\u00f1a<\/em> (2022) and El bon auguri<\/em> (2024), screened at IDFA, Sheffield DocFest and Indielisboa, amongst others, have received awards. She has taken part in residencies supported by Centre Pompidou, La Ga\u00eet\u00e9 Lyrique and HKW. In 2025, Filmoteca de Catalunya dedicated a special retrospective to her work. She is currently working on her first feature film.<\/div><\/div>
Producci\u00f3n<\/div>
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Estado<\/div>
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Sweet Luisa<\/h2>

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In 2035, Europe is broken by a migration crisis and the rise of the far right. Luisa (66) travels to the country where her daughter Claudia (43) lives. Both have been distant for years. What begins as a family visit takes a different turn when Luisa confesses that she has lost her home and has nowhere to return to. Forced to remain abroad, she must embark on a process of integration that brings her face to face with her own racial and cultural prejudices.<\/p>\n<\/div>

Direcci\u00f3n<\/div>
Paula Romero<\/strong>. A Spanish-British director, producer and screenwriter with Andalusian origins, she founded the production company Santa Paciencia Films, where she develops fiction, documentary and advertising projects. She has worked with the BBC, Apple TV and HBO Max on British, Latin American and Middle Eastern productions. She is the director, scriptwriter and producer of Mothertruckers<\/em> (2023), which won an award at the Seville Film Festival and has garnered over 20 awards on its international tour. She is currently in post-production on her first fiction short film, Yo, hija<\/em>, and the feature-length documentary Caballero Bonald: Fragmentos del navegante<\/em>. At the same time, she is developing Sweet Luisa<\/em>, her first fiction film.<\/div><\/div>
Producci\u00f3n<\/div>
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Ti, Jane<\/h2>

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Ti, Jane<\/em> is a feature film that reimagines Tarzan and Jane as a couple of sixty-year-olds who, after forty years together living almost isolated in their jungle, face a serious diagnosis and the imminence of death. The plot questions the hero and \u201cgood savage\u201d myth to talk about old age, mutual dependence and gender roles at the end of life. The film is a combination of comedy and melancholy mixing humour and drama.<\/p>\n<\/div>

Direcci\u00f3n<\/div>
Pablo Fontenla<\/strong>, linked to the audiovisual sector for 20 years, has worked on many projects as a filmmaker, director of photography, producer, scriptwriter and executive producer. Highlights include Helsinki 79<\/em> (2019), internationally awarded, and Canillejas<\/em> (2013), the first period web series in Europe. In 2017, he founded Luou City Produci\u00f3ns, a company dedicated to the development of audiovisual content, scripts and musical composition. He was nominated for the Mestre Mateo Awards in the categories of best production, photography, documentary, short film, programme and best music video. In 2021, Forbes included him in the list of the 50 most talented people on the national scene.<\/div><\/div>
Producci\u00f3n<\/div>
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Estado<\/div>
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