Collective residencies / Screenplay development lab 2025-2026 II / Olot
PAU MIRA
From Monday, 2 March 2026 to Friday, 6 March 2026
Bio
Pau Mira is a director of photography and a documentary filmmaker born in Hospitalet de Llobregat. He graduated in Cinematography from the Cinema and Audiovisual School of Catalonia (ESCAC), where he currently teaches. In 2022, he was the director of photography for the feature-length documentary film El Salón (The Salon), directed by Pere Sastre, which won Best Balearic Film at the Atlàntida Film Fest 2024.
He has also shot short films such as Si mai no ens haguéssim separat (If We’d Never Broken Up), directed by Marc Esquirol and premièred at D'A 2023, El Banderillero by Jorge García and Utopías y otras especies (Utopias and Other Species), directed by Júlia Izaguirre and produced by EQZE. He worked as second unit cinematographer on feature films such as The Human Hibernation by Anna Cornudella, which premièred in the Forum section of Berlinale 2024. He recently directed the photography for the feature-length documentary film NoBody, directed by Carlos Villafaina.
Alongside this, he is developing his first feature documentary as director, No sé xiular com els pastors (I Don’t Know How to Whistle Like Shepherds), produced by Lastor Media and Pausa Dramàtica Films, an intimate film resulting from years of filming his younger brother Pere since childhood. As a cinematographer, he explores new hybrid forms of formal representation in fiction and non-fiction cinema.
Project
During his stay at Faberllull, he will write the script for the feature documentary No sé xiular com els pastors.
Pere, a young man with a functional diversity, dreams of becoming a shepherd and making a film with his brother Pau. When he comes of age, he will learn to care for a flock of sheep under the guidance of a shepherd. His days unfold between the city and the countryside, always accompanied by Suau, a lamb that follows him everywhere until the legal proceedings to determine his incapacitation. This is Pau's love letter to Pere, whom he has filmed for years out of fear of losing him.
During the Screenwriting Residency of the Catalan Film Academy, the time at Faberllull was, for me, a way of marking distance. It stemmed from a process very closely linked to my day-to-day family and creative life and I needed to take a step back to be able to watch the film from another place, with distance. Isolation gave me this mental space, this essential silence to better listen to what the project requires.
Sharing this time with colleagues at a similar moment in life made the experience richer and more human-focused. There is a complicity born from shared vulnerability and the desire to move forwards. From its earliest days filmmaking been a collective art that begins with writing, since cinema is born the moment you imagine it. Being able to dedicate oneself solely to creating, free of interruptions, is a privilege that was clear from the first day of the retreat.
All this in an environment that has a special emotional charge for me. Olot and its beech forest are part of my childhood, and rediscovering this landscape from another time in life proved beautiful. The beech forest has a magic that informs the process of creation and imagination. The time at Faberllull was, in short, a necessary break to approach the film with greater clarity and depth.