The road movie is a recurrent film genre on the service of narratives that imply one of two possible trajectories (or both): or the protagonists are in an urgent run away process, or they are following an impulse to leave in a search for answers. In this small plot, a couple of characters /authors, whose relationship seems to show evidences of wastage, loosely reflect upon the creative process that they want to apply to the theme of a film, building a sinuous script about a couple that undertakes a journey hoping to retrieve past emotions and moments of their life together, on a path where they will be confronted with images of their past, insights of their future. A catharsis in a surreal dimension that lead us to an ending with no answers.
In a certain way it is an immersive film, built upon a perspective both real and illusive, summoning the creative process, not only to question it but also to elude the expectations of the author, scrambling the daily routines and the roles each character is lead to perform.
It is also a film about a quest for meaning and about the late acknowledgement that that arises basically from pure chance and absurdity.
The film unfolds before us in two separate levels, one supposedly “real”, inside a house where two characters, Say and Said, draw and write a script; and another, at the imaginary level of these two characters, where a second set of actions takes place involving two other characters, younger than the first, She and He, that not knowing the script undertake together a non linear journey.
Say and Said have different conceptions of the script. He has a more conventional approach, somehow corseted by his countless references. She is more libertine but also incoherent. While searching for the two fictional characters in the script (She and He), the difference between them grows, thus influencing the how those fictional characters are represented: well define when highlighted in the close-ups and fading as archetypes, almost silhouettes, in the wide shots.
The cinematic approach tends to be experimental, where the two dimensions (the real and the imaginary) are so interpenetrated and influence themselves to the point where one can’t tell which is which.
Mimicking film noir features, where tension is settled through progressive metamorphosis until a no return situation, like an antihero’s path, the journey ends with a shipwreck on a desert. The hesitations and fears that tear apart the characters reveal themselves along the journey in an imprecise order. Each character is captive of itself and of the way they deal with time and the search of any meaning for their life, for love.
From a visual and graphic standing, the animation will tend to have a realistic approach, but simultaneously and seldom assuming an abstract and expressionist look. Inspired in the comic books from the 40’s and 50’s, graphically high contrasted and with an hatched treatment, in an intend to approach the lightening of the movie studios from the first half of the twentieth century.
The transitions between universes and its interpenetrations are inspired in the optical devices from the pre-cinema (optical toys). The sound when creating the atmosphere of situations and places will have a very important role in the elusive play set and universes where the film takes place, either strengthening either running against the visual unfolding of the action. The meddling of the voices of Say and Said within the fiction as well as the sound of atmospheres will introduce multiple readings and dimensions to film.
The musical composition will have also an experimental approach, concrete and abstract, non illustrative. However, an apparently more conventional inserts will be introduced from time to time, ironically or eventually redundant, to be broken by the general tone of the film.