Flying fishthe latest short film directed by the Canarian filmmaker Nayra Sanz Fuenteswill premiere at 25th edition of the Malaga Festival. This new work will compete for the Biznaga de Plata for Best Short Film at the Andalusian competition, one of the most outstanding film events in the country.
the short film, which will be screened on Friday, March 18, at 7:30 p.m. at the Echegaray Theater, proposes an immersive cinematographic experience in which issues such as the extreme consumption of resources and the transformation of biodiversity are raised. Through an allegorical language, the flying fish approaches a universal space in which it reflects on the way in which the human being relates to nature and technology.
The director has pointed out that, with this short film -the fifth in her series dystopias achieved-, aims to "think about the serious situation in which the planet finds itself. What threatens the most immediate present are not only the effects of climate change, but also the high degree of pollution and the consequent disappearance of thousands of species, including the human being itself».
This Rinoceronte Films production has had the production support of the Spanish Institute of Cinematography and Audiovisual Arts (ICAA) and has been selected to be part of the Canarias en Corto 2022 distribution catalogue. Raina Films is its international distributor.
For thousands of centuries and in different cultures, the flying fish has been understood as a symbol of search, freedom and improvement. It is a unique animal that swims and flies, that enters the waters and crosses the air reflecting the possibility of hope. Its transit has been understood as an observational journey through nature, but little by little the incidence of human beings and technology become more present, transforming and altering the environment...
With more than a decade of experience, Nayra Sanz Fuentes is an independent filmmaker and producer. Her work as director has been awarded internationally in countries such as Egypt, France, Thailand, Iraq, Colombia, Canada, Mexico or the United States, and has been shown in numerous competitions, cultural spaces and academic contexts. As a producer and editor, she has been the winner of the Critics' Feroz Award and nominated for the Goya Awards. She also works as a programmer at festivals and as a teacher in schools such as San Antonio de los Baños (Cuba).
With Flying fishthe fifth work of the series dystopias reached, I have wanted to reflect, through an open narrative, on one of the most relevant issues of our contemporaneity: environmental problems and the serious situation in which the planet finds itself. What threatens the most immediate present are not only the effects of climate change, but also the high degree of pollution and the consequent disappearance of thousands of species, including the human being itself.
The Anthropocene is the era in which the planet finds itself since the incorporation of oil and plastic as key resources of industrialized societies, at the end of the 19th century, and the establishment of capitalist and neoliberal economies, fundamentally characterized by extreme consumption and the obsession with the growth of economic revenue. Since then, the world is transforming at a speed never before experienced by living beings. Faced with this biodiversity crisis, of the eight million species that currently exist on the planet – including animals, insects and plants – one million are threatened with extinction.
Over the centuries, the flying fish has been conceived in various cultures as a special totem. Its quality of moving through different elements, such as water and air, flying and swimming, has been understood as a symbol of communication, challenge, and connection between emotions and the subconscious. It thus becomes a symbol of overcoming one's own obstacles. The flying fish is therefore a reflection of effort and hope.
Through the gaze of this animal I have wanted to portray a space recognizable by the viewers but presenting it, like the other works in Dystopias Reached, as a delocalized place; a reality that, as a reflection of our globalized world, could be happening in different geographical areas at the same time, causing a repetitive and homogeneous pattern of behavior with consequences that are difficult to repair. With an allegorical language, in which I try to make the images open to the symbolic interpretation of different cultures, I have tried to formulate a whole series of issues and questions that interrelate our contemporary way of relating to nature and technology.