Biography

Twisted plots, disconcerting endings

One or more women drink milk from huge glasses

Usually there is a character who does not talk in his films, e.g.: Nono (Xavier Tort) in "FAQ", Susi (Arantxa Peña) in "PROXIMA", The manager (Jean-Pierre Kameni) in "Scream Queen", The Queen of Catalan Love (Eleanor James) in "Maximum Shame".

Repeated symbolic and aesthetic use of cardboard: cat's coffin in "FAQ", space capsule in "PROXIMA", boxes in "Maximum Shame"...

Dystopian and apocalyptic references: all his movies since 2000 reflect some kind of totalitarian power structure, whether in small scale (sectarian society) or large (government). The allusions to the end of the world are also repeated, usually from outer space: giant asteroid, a black hole, an alien invasion...

My work is entirely independent and I love this way. Most of the Spanish filmmakers waste their time waiting for a grant. I spend that time making movies. The advantage is my films are so weird and free as I wish. The drawback is to work with scarce cash and without distribution companies' consent. But I'll always prefer freedom to comfort and audience's judgment to bureaucrat's approval.

But what is more important is that my films are not naturalist, they constantly remind the member of the audience that he's attending to an artifice of conventions. Sometimes actors look at camera, continuity is perverted, composition is hierarchical, camera movements are not slight. The actors play characters but they play also actors. The presence of cameraman is subtle but present.

Some of my main film references are Stanley Kubrick, David Lean and Rocco Siffredi. Most of Rocco's 173 films have all that I consider a film must to has. Agnes' scene in "Rocco invades Poland" or Gabriella Kerez' pool scene from "True Anal Stories 9" are deeper than any Theo Angelopoulos' movie and show us the human inside more accurately than any Ingmar Bergman's film.

Deep down my films are naïve, they just show what you see. But people have a bigoted tendency to project meanings on things. And for any reason my films stimulate the pareidolia, like Rorschach inkblots.

Queeny Love is not only an amazing beauty but a great artist, exciting, self-sufficient and innovative. Her performances wonder me once and again. It is even much interesting than the great majority of current films (porn and no-porn). If Marshall McLuhan were alive and could see her, sure he were fascinated with her work, that conjunction of performance / web / video / porn which forms a new media for a new time. Queeny Love deserves a very much greater acknowledgment and I am sure she will have it someday.