Collective residencies / Cinema- Screenwriting for films II / Olot
NUR CASADEVALL
From Monday, 16 May 2022 to Friday, 27 May 2022
Bio
Born in Vilajuïga in 1990. He lives in Barcelona. Graduate of the Escola Superior de Cinema i Audiovisuals de Catalunya (ESCAC). Her final career project, the short film Lina, has won numerous awards at national and international festivals. Highlights: Best Direction at the Malaga Film Festival (2016) and Young Directors Awards at Cannes. She was then hired to be part of the staff of the directors of Canada, the Catalan producer with the most international projection thanks to her music videos and advertising campaigns. Her audiovisual pieces have been selected and some of them have won several festivals such as the LCI Barcelona Fashion Films Festival, Fashion Film Festival Milano, La Jolla Fashion Film Festival and LAUS Awards. He has been a member of the jury of the Barcelona Fashion Film Festival in the 2020 and 202 editions. In 2019 he was a jury member of C de C (Club de Creativos de España), the most important festival in terms of design and audiovisual creation for brands. And also from D&AD, the UK's leading audiovisual creativity festival, which includes some of the best music videos as well as the best campaigns in the world. This year he has joined Idep Barcelona as a teacher in the Master's Degree in Audiovisual Production.
Project
During the Faber residency I will work on the script for La mel és més dolça que la sang" (Honey is sweeter than blood), my first feature-length fiction film as a screenwriter and director. A story based on a real character who lived in the early 1900s. It is a story of rebellion against a fate doomed to be a witch's daughter and daughter.
We went to Faberllull with the intention of writing a story about Lídia de Cadaqués, a real life character from the beginning of the 20th century who hypnotized us ever since discovering her story. To give you an idea of the kind of woman she was, we can only tell you that Eugeni d'Ors named her "El Quijote del Mediterrani" and that Dalí considered her "the muse of paranoid-critical thinking".
We were very clear about the genre, the tone and the type of feature film we wanted to write and also what we wanted to tell. But it was very difficult for us to drop some of the important parts of her biography that captivated us, while keeping what defines the character's arc and the structure of the script. A lot of things were happening, we had enough material to fill a whole series ...
During these days in Olot, we worked hard. We were able to get rid of some events that enchanted us, but did not let the plot suffer. We have focused on the stage of her life that defined her as the Lídia de Cadaqués that we know today (from 1904 to 1922) and we have defined the structure of all the plots of the film. We were able to develop the character in depth, her emotional arc and her delirium. The advice of Enric Rufas has been crucial. He has helped us to take steps and be more confident in our edit decisions. To fall out of love with some of the things that we had in common, but which did not help us tell the core of the story.
Ten days later, we left the Riu Hotel with a solid structure and eager to embark on the writing of the treatment.