In this evocative debut feature, Lucía Aleñar Iglesias expands the universe created in her award-winning short film of the same name. The Madrid-born filmmaker starts from a physical space (a house in Mallorca, by the sea) to reveal, little by little, the interiority of a family plunged into grief: a granddaughter (Zoe Stein, as unsettling as she is moving), a grandfather (Lluís Homar, in an unusually restrained performance), a mother, and the ghostly presence of the grandmother, who has just passed away. From Cría cuervos to Verónica, stories of (and with) ghosts have constituted ideal frameworks for coming-of-age and transition-to-adulthood narratives, but Aleñar Iglesias avoids the clichés of the subgenre with an aesthetic, formalist, and rigorous proposal that emulates a worn-out postcard and features a prickly central character, Cata (Stein), who defies all definition.

An interest in faith and spirituality has often accompanied the actor Lluís Homar, but for some time now it has also a way of understanding the professionThis passion found its perfect partner before the pandemic, when it coincided with the musician Emili Brugalla and together they performed the recital Soul and wordwhich fused the poetry of Saint John of the Cross with the work of Frederic Mompou. From this emerged a different way of understanding the stage, the text, and the music, which is now being replicated with other protagonists: the chapter "The Grand Inquisitor" ofThe Brothers Karamazov of Dostoevsky and the spiritual works of Bach and Messiaen. The result is a performance featuring Homar on spoken word and Brugalla on piano, accompanied by Vesko Stambolov, with whom he shares a duo. Straddling the line between concert and recital, the creators define this work as a sacramental act. Under the title Bach-Dostoevsky-MessiaenThe play premieres this Sunday at the Girona Auditorium as part of the Temporada Alta festival.

He appears with that Manelic chassis, that of Viscount Valmont, of Hamlet, of Spooner, of Professor Bernhardi, of Cyrano and an aura that could make him not go through the door, but when one of the great interpreters of active Catalan theatre sits down to talk, only, Luis Homar (Barcelona, ​​​​1957), a person who The biography of light by Pablo de Oros changed his life. This January he returned to live in Barcelona after more than five years in Madrid directing the National Classical Theatre Company, a stage that ended abruptlyFrom February 27 to March 16 he directs one of the last shows of the CNTC at the Teatre Romea, The great theatre of the world, by Calderon de la Barca.