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ORIGINAL TITLE: CERCA DE TU CASA

ENGLISH TITLE: AT YOUR DOORSTEP

PRESS DOSSIERTo see the trailer of the film:

Link: https://vimeo.com/143895147

To see the (short) making of, 8 min.https://vimeo.com/127011076

To see the (long) making of, 20 min.https://vimeo.com/124792579

https://vimeo.com/124792579



Index

a) Short synopsisb) Long synopsis (storyline)

-Why a musical?

c) Director’s notesd) Director’s filmographye) Castf) Leading character: Silvia Pérez Cruzg) Other playersh) Technical specsi) Technical data

a) Synopsis

Three stories intertwine as different people deal with the challenges of living through times of crisis. An evicted mother, a banker with a conscience and a police officer who has to do his job no matter what, sing and dance in this Brechtian musical drama about the economic crisis, people’s struggle with daily life, solidarity and hope.

CERCA DE TU CASA / Dossier de prensa / Pág.1

b) Long synopsisThe year is 2007. In Spain the first evictions start after the housing bubble bursts. It is the beginning of what will become a genuine tsunami that will leave thousands of people homeless. The early victims of the foreclosures were not aware of the magnitude of their tragedy since, apart from losing their houses, they still had to face a debt that threatened the property of those who signed for and guaranteed their mortgage. Without a roof over their heads, scant information on what to do and no resources to get themselves out of the mess they’d been dragged into, the personal drama of these early evictions was never covered by the media. People went through their ordeals practically alone, with almost no help from anyone. They faced them as a personal failure that left them totally powerless, with their self-esteem in shreds.

Cerca de tu casa (At your doorstep) deals with one such drama: the case of Sonia, her husband and their 10-year-old daughter. After losing their jobs, they cannot pay their mortgage and are evicted. As they have nowhere else to go, they move into Sonia’s parents’ apartment. The lack of space, tension due to financial problems and their constant frustration result in constant disagreements, mutual reproach and arguments. As if that weren’t enough, Sonia’s mother thinks her daughter’s failure is shameful and should be concealed.

To make matters worse, the apartment Sonia lost was not worth enough to pay off the bank mortgage, which was high. With no income, they cannot meet the monthly payments. Soon the bank moves to repossess her parents’ house, since they signed for Sonia’s loan to buy her apartment.

Those early evictions also brought other related dramas. Like in the case of Jaime, a policeman who, after evicting Sonia and her family, has a personal crisis with his job: he cannot forget how he forced Sonia out of her flat, although following orders, and dumped them and their belongings in the street. That crisis of conscience will lead him to


obsessively look for Sonia and her family to find out what happened to them after the eviction.

Also Pablo, the bank employee where most of the mortgages in the neighborhood have been signed, feels guilty, as if he had personally betrayed his neighbors. For him, foreclosures meant making people, even those whom he’d known as a child, homeless. And he feels particularly bad in the case of Sonia, our leading character, whom he has always loved. Pablo feels like he is destroying the lives of the people he cares about and ponders whether he should remain in the bank or resign. However, he cannot give up his job because even he has a mortgage to pay on his own house.

In the face of so much frustration and helplessness there is only one way out: to understand that one’s drama isn’t an individual tragedy, that an increasing number of people are finding themselves in the same situation, that the worst possible approach to the problem is to experience it as a personal failure, to be hidden as something disgraceful and shameful.

It is because of that that our leading characters will be unable to recover their dignity until they come to terms with the fact that their case isn’t unique; it is among the first of many that will follow in the next few years. That it is essential for them, and others facing similar problems, to realize that the root of the problem isn’t to be found in their personal failures but in the system itself and that the only way to fight against it is through unity, solidarity and resistance.

Why a Musical?A musical about the crisis and evictions is a way of looking at the phenomenon we are now well acquainted with, in a new light and different perspective that is more emotive and unpredictable. Also, as a genre, the musical is an original means of turning into a film what we see every day in the news with increasing alarm, as an imminent threat that could happen to anyone of us. Possibly, truth is stranger than fiction or reality surpasses fiction, as they say over here in Spain, but certain elements might be bestowed on fiction that can make that reality look different without losing its essence. Elements that can awaken new feelings in the audience. In the case of AT YOUR DOORSTEP, the element in question is precisely the musical genre itself; the catalyzing agent that enhances fiction though based on facts, transforming it into something novel and innovative.

Live songs that attempt to elevate the mood in the most important and significant moments of the story. Dances that not only seek to add spectacular elements to the film but also to express such unfortunate developments as evictions, the destruction of hundreds of jobs or the daily drama faced by many families who count pennies to buy food.

Finally, amid all this gloom and to a large extent thanks to the music, we want to offer a horizon of hope. A message of emotional hope that moves us and at the end of the film


might make the viewers more cheerful and motivated to confront the pressures that affect our daily lives.

Sílvia Pérez Cruz has been the creator of the sound track of AT YOUR DOORSTEP, and the choreography is in the hands of dancer and choreographer Sol Picó (Alcoi, 1967), who is knowledgeable of classic, Spanish and contemporary dance and has managed to develop a personal style of her own. Sílvia’s creative and interpretative language has earned her many Max Prizes (BÉSAME EL CACTUS, LA DONA MANCA O BARBIE-SUPERSTAR, PAELLA MIXTA, SIRENA A LA PLANCHA, EL LLAC DE LES MOSQUES, EL BALL), as well as the National Dance Prize from the Generalitat of Catalonia in 2004, among many other awards.

c) Director’s notesIn recent years, the crisis has seriously affected countries like Spain. Its most dramatic consequence has been unemployment that has resulted in millions of people losing their jobs. Entire families have lost their income and means to face the mortgages on their houses so that they have eventually lost them through evictions.

I intend to set this film at the onset of this crisis, when the first evictions were carried out. To explain how a young woman and her family are drawn into a struggle to preserve their most basic rights and dignity. Through our leading character, the spectators will be able to connect with one of those dramas in a tangible way, identifying and suffering with them, but also becoming indignant, feeling hope, and developing a fighting spirit and capacity of response to adversity.

Some years ago I met Silvia Pérez Cruz. I was fascinated both by the way she sang, the feeling she transmitted in her performances, and the sensitivity with which she composed her songs. I was so impressed that I started to think about a potential project in which both of us might be involved. That in turn was in line with an old wish of mine to make a musical film. I would have never suspected that the musical I yearned for was going to eventually focus on a crisis as dramatic as the one we are going through. Now, I think that I couldn’t have had access to better material to make that dream come true and be able to propose that Silvia participate in a project like AT YOUR DOORSTEP. On the other hand, I was sure it would seduce her immediately, as indeed it did.

My idea is to make a singular musical film that surprises the audience, that might grow based on the talent of artists like Silvia Pérez Cruz or the choreography of Sol Picó, whose creativity and originality have earned her much deserved international renown.

A musical about the crisis, about evictions. A way of looking at the daily dramas we see in the news in a new, more emotional and unforeseeable manner. Without losing its essence but which might, at the same time, awaken new feelings in the viewers. Songs and choreography that will not only lend brilliance to the film but will express, in a


different way, the unfortunate and familiar evictions, layoffs of thousands of workers and the day-to-day tragedy of not having enough money to buy food.

Finally, amid all this gloom and to a large extent thanks to the music, we want to offer a horizon of hope. A message of hope that moves us and at the end of the film might make the viewers feel more cheerful and motivated to confront the dilemma that we face in our lives.

Eduard CortésBarcelona, January 2015

d) Director and co-writer: EDUARD CORTÉS

MOVIES:

2012 ¡ATRACO! (director &co-scriptwriter)

2012 THE PELAYOS (director &co-scriptwriter)

2010 INGRID (director & co-scriptwriter)

2007 EL PAYASO Y EL FÜHRER (director &co-scriptwriter)

2005 OTROS DÍAS VENDRÁN (director &co-scriptwriter)

2002 LA VIDA DE NADIE (director & co-scriptwriter)

TELEMOVIES:

2011 ÁNGEL O DEMONIO (3 episodes)

2009 HAY ALGUIEN AHÍ (5 episodes)

2009 LES VEUS DEL PAMANO

2006 MAR I CEL (codirector along with Joan Lluís Bozzo)

2004 AMB EL 10 A L’ESQUENA

2003 L’ORQUESTRA DE LES ESTRELLES (director & co-scriptwriter)

2003 MÓNICA

2003 CARTA MORTAL

2000 LA CAVERNA (director & co-scriptwriter)

TV PROGRAMS:

2001 PSICO EXPRESSCERCA DE TU CASA / Dossier de prensa / Pág.5

1999 LA MEMÒRIA DELS CARGOLS

1996 SITGES

1995 SECRETS DE FAMÍLIA

1994 OH! EUROPA

1992 QUICO

e) The castSonia Sílvia Pérez Cruz

Tomás Lluís Homar

Mercedes Adriana Ozores

Dani Iván Massagué

Martín Manuel Morón

Jaime Iván Benet

Pablo Oriol Vila

f) Leading character: SÍLVIA PÉREZ CRUZWinner of a recent Goya Award for Best Song for BLANCANIEVES (SNOWWHITE), Sílvia Pérez Cruz is an artist who stormed onto the music scene with an unstoppable strength. Her talent as a composer and performer, as well as her passion and commitment will contribute significantly towards the film, raising it to unprecedented levels in terms of mood and state of mind. The emotion and beauty of her voice will captivate spectators and make them experience the story in a uniquely intense way.“She has been building up for herself credit, fame and respect (...) Her vocal chords are really enviable (...) A new star has been born.”Esteban Linés, La Vanguardia

“One of the most beautiful and personal voices ever to be heard.”Luis Troquel, El Periódico de Catalunya

“Discovering Sílvia Pérez Cruz’s voice has been a real miracle.”Lluís Llach


“A torrent of emotions (…) A most powerful voice.” Joan Foguet, El País

“A great artist.” César López Rosell, El Periódico de Catalunya

“Silvia tem uma voz afinada e lindíssima"Lauro Lisboa Garcia, Diario Sao Paolo

The musical career of Sílvia Pérez Cruz (Palafrugell, Girona, 1983) began when the precocious 4-year old began studying solfeo (music theory), piano and alto saxophone. Between the ages of 12 and 18 she played the sax in funky, bossa nova and jazz bands and then moved to Barcelona where she took classes in cajón box drumming, harmony, voice, improvisation, composition, etc. In Barcelona she gave her first concerts, playing with more than 10 bands of different musical styles, like Las Migas, En la imaginación and Coetus.

In 2011 she finished that intense stage of learning, especially as a performer, and focused her energy on a very personal project: making a record in honor of her father, who died in 2010. The record, “11 de noviembre” (11th of November) premiered in April 2012 at the Grand Theater of the Lyceum in Barcelona. Apart from singing, coproducing and doing the arrangements, she wrote the lyrics and composed the music. The work, which was also published in France and Portugal, won several prizes like the Terence Moix International Award and a Gold Record for having sold over 200,000 copies.

Sílvia Pérez Cruz has worked in other artistic disciplines. She has composed music and performed for dance shows (Damián Muños, Israel Galván…), theater (Joan Ollé, Julio Manrique…) and film. She earned singing acclaim in Chicuelo’s song “Te busco y no te puedo encontrar” in the film BLANCANIEVES (Pablo Berger, 2012), winner of the Goya Award 2013 for Best Original Song.

In April 2014 she presented a record of versions, devised and created jointly with Raül Fernández Miró, entitled “Granada”.

DISCOGRAPHY AS A SOLOIST:

2012 11 DE NOVIEMBRE

2014 GRANADA

CINEMA:

2014 RASTROS DE SÁNDALO. Dir. Maria Ripoll

2014 EL SOMNI (GERMANS ROCA). Dir Frank Aleu

2012 BLANCANIEVES. Dir. Pablo Berger. Goya award to the Best Original Song for “No te puedo encontrar


g) Other Players

LLUÍS HOMAR (Tomás)Barcelona, 1957. He stopped studying law in the University of Barcelona and enrolled in the Theater Institute. In 1976, along with other actors, he founded the Cooperative Society of the Lliure Theater of Barcelona, in which he worked for years uninterruptedly and was the artistic director between 1992 and 1998, participating in over 30 shows. During that time he also became involved in television and shortly after in film, appearing in LA PLAZA DEL DIAMANTE (1982). Throughout his extensive career as an actor, Lluís Homar has worked with Spain’s most prominent movie, theater and TV directors. He received numerous awards like the Gaudi Prize and the Goya Prize to the Best Supporting Actor in EVA (2012), the Silver Frame Award to the best Movie Actor for LOS ABRAZOS ROTOS (2010) and the National Prize of Culture from the Generalitat in 2006.

CINEMA:

LA FOSA (2014), THE PELAYOS (2012), EVA (2011), NO TENGAS MIEDO (2011), LOS OJOS DE JULIA (2010), HÉROES (2010), PÁJAROS DE PAPEL (2010), LOS ABRAZOS ROTOS (2009), COBARDES (2008), UN CHÂTEAU EN ESPAGNE (ISABELLE DOVAL), LA HABITACIÓN DE FERMAT (2007), LO MEJOR DE MÍ (2007), LOS BORGIA (2006), MARIPOSA NEGRA (2006), BOSQUE DE SOMBRAS (2005), MORIR EN SAN HILARIO (2005), REINAS (2005), LA MALA EDUCACIÓN (2004), ROTTWEILER (2004), VALENTÍN (2003), NINES RUSSES (2003), MORIR O NO (2000), LA CIUDAD DE LOS PRODIGIOS (2009), LA CELESTINA (1996), ADOSADOS (1996), MÉCANIQUES CÉLESTES (1995), EL PORQUÉ DE LAS COSAS (1995), EL PÁJARO DE LA FELICIDAD (1993), DESPUÉS DEL SUEÑO (1992), EL HOMBRE DE NEÓN (1991), EL NIÑO DE LA LUNA (1989), SI TE DICEN QUE CAÍ (1989), LA PLAZA DEL DIAMANTE (1982).

ADRIANA OZORES (Mercedes)Madrid, 1959. Born into a family devoted to the world of acting, Adriana Ozores’s beginnings as an actress are linked to the films directed by her uncle, Mariano Ozores. In the mid-1980s, she stopped acting in films to devote herself mainly to the theater, although she also participated in TV in series like TURNO DE OFICIO. Subsequently, she returned to the movies as an actress in the 1990s and worked with such directors as Miguel Albadalejo, Gracia Querejeta and Gerardo Guerrero. She was awarded a Goya Prize as Supporting Artist for her performance in LA HORA DE LOS VALIENTES, directed by Antonio Mercero.


CINEMA:

NO LO LLAMES AMOR, LLÁMALO X (2011), NACIDAS PARA SUFRIR (2010), 8 CITAS (2008), EL MÉTODO (2005), HEROÍNA (2005), HÉCTOR (2004), LA SUERTE DORMIDA (2003), EN LA CIUDAD SIN LÍMITES (2002), LA VIDA DE NADIE (2002), PLENILUNIO (2000), MANOLITO GAFOTAS (1999), ATAQUE VERBAL (1999), CUANDO VUELVAS A MI LADO (1999), LA HORA DE LOS VALIENTES (1998), LA PRIMERA NOCHE DE MI VIDA (1998), ¿DE QUÉ SE RÍEN LAS MUJERES? (1996), NIÑO NADIE (1996), EL PÁJARO DE LA FELICIDAD (1993), LOS ZANCOS (1984).

LA LOCA HISTORIA DE LOS TRES MOSQUETEROS (1983), PADRE NO HAY MÁS QUE DOS (1982), LOS CHULOS (1981), EL LIGUERO MÁGICO (1980) and LOS ENERGÉTICOS (1979). These are only some of the many films in which Adriana Ozores worked with her uncle, the director Mariano Ozores.

IVAN MASSAGUÉ (Dani)Barcelona, 1976. Between 1996 and 1999, he studied in the Nancy Tuñón Theater School of Barcelona. Despite having worked for several years as an actor, he didn’t become well-known in television until he played the role of Johnny in the final part of the series 7 VIDAS. Subsequently he played the role of Marcos in LA FAMILIA MATA and the role of Roberto Cardeñosa “Burbuja” in the successful series EL BARCO. He is a multifaceted actor who has excelled in all areas of performance.

CINEMA:

PANCHO, EL PERRO MILLONARIO (2014), KAMIKAZE (2014), LOS ÚLTIMOS DÍAS (2013), DÉJATE CAER (2007), PRESUMPTES IMPLICATS (2007), TU VIDA EN 65’ (2006), EL LABERINTO DEL FAUNO (2006), ENTRE VIVIR Y SOÑAR (2004), XXL (2004), LAS MALETAS DE TULSE LUPER (2003), SOLDADOS DE SALAMINA (2003), NUDOS (2003), PEOR IMPOSIBLE, ¿QUÉ PUEDE FALLAR? (2002), MI CASA ES TU CASA (2002), NOMÉS PER TU (2001).

MANUEL MORÓN (Martín)Cadiz, 1956. Although he had worked in film and TV for a decade, the public only got to know him when he played Juan José Ballesta’s father in EL BOLA, the directorial debut of Achero Mañas, followed by many other successful films. He took his first steps at the Instituto del Teatro of Seville and completed his training as an actor in the Estudio del Actor Carlos Gandolfo of Buenos Aires and the Estudio Corazza para el Actor de Madrid, a center where he currently teaches acting. Silver Award for Best Actor in the Festival of


Malaga for 25 KILATES, Best Actor in the Malaga Film Festival, shared with the whole cast in SMOKING ROOM, amongst other prizes.

CINEMA:

MARSELLA (2014), TRES 60 (2013), ÁREA DE DESCANSO (2011), CINCO METROS CUADRADOS (2011), CELDA 211 (2009), 25 KILATES (2008), MATAHARIS (2007), TERESA, EL CUERPO DE CRISTO (2007), LA SOMBRA DE NADIE (2006), ¿POR QUÉ SE FROTAN LAS PATITAS? (2006), LA NOCHE DE LOS GIRASOLES (2006), SALVADOR PUIG ANTICH (2006), AZULOSCUROCASINEGRO (2006), AMOR EN DEFENSA PROPIA (2006), REMAKE (2006), BELHORIZÓN (2005), INCAUTOS (2004), EL PRINCIPIO DE ARQUÍMEDES (2004), FRANKY BANDERAS (2004), UNA PASIÓN SINGULAR (2003), EL TRAJE (2002), CANÍCULA (2002), SMOKING ROOM (2002), SALVAJES (2001), JUEGO DE LUNA (2001), EL BOLA (2000), AUNQUE TÚ NO LO SEPAS (2000), YOYES (2000), NADIE CONOCE A NADIE (1999), LA MUJER MÁS FEA DEL MUNDO (1999), LOS LOBOS DE WASHINGTON (1999), PLENILUNIO (1999), TODO SOBRE MI MADRE (1999), NADA EN LA NEVERA (1998), ÁFRICA (1996), DIME UNA MENTIRA (1993).

IVAN BENET (Jaime)Vic, 1976. Few actors can claim to have started their profession at the age of three. Ivan Benet, whose parents were part of an amateur company, is a graduate in Dramatic Arts from the Barcelona Theater Institute where he won the Extraordinary Prize of his class 1994-1998. He was granted a scholarship from the Theater Lliure to participate in two “works in progress” at the International Theater Akademy Ruhr in Bochum (Germany) and another from the Theater Institute to participate in a creative show at the Hoges School voor de Kunsten in Amsterdam (Netherlands).

THEATER:

He has acted in over thirty theater shows directed by Joan Ollé, specifically in ESPERANT GODOT (2011), EL JARDÍ DELS CINC ARBRES (2009), EL QUADERN GRIS (2009); Àlex Rigola en EUROPEAN HOUSE (2006), RICARD III (2005), JULI CÈSAR (2004); Oriol Broggi en JORDI DARDIN (1999); Mario Gas en LA MARE CORATGE I ELS SEUS FILLS (2001), o Julio Manrique en LLUM DE GUÀRDIA (2011) i AMERICAN BUFFALO (2010), among many others .In 2015 he debuted as director in the Kafkaesque monologue INFORME PARA UNA ACADEMIA. Sílvia Pérez Cruz expressly created the music for that performance.


ORIOL VILA (Pablo)

CINEMA:

PERDONA SI TE LLAMO AMOR (2014), EL CAFÉ DE LA MARINA (2014), LASA Y ZABALA (2014), EL CUERPO (2012), THE PELAYOS (2012), TODAS LAS CANCIONES HABLAN DE MÍ (2010), PÁJAROS DE PAPEL (2010), TU VIDA EN 65’ (2006), SALVADOR PUIG ANTICH (2006), FALSA CULPABLE (2005), EL SÉPTIMO DÍA (2004), LAS MALETAS DE TULSE LUPER (2003), JUGAR A MATAR (2003), EL DOMINIO DE LOS SENTIDOS (1996).


h) Technical Specs

Original title CERCA DE TU CASA

English title AT YOUR DOORSTEP

Production company Bausan Films S.L.

Director Eduard Cortés

Music Silvia Pérez Cruz

Producer Loris Omedes

Scriptwriter Eduard Cortés

Piti Español

Choreographer Sol Picó

Director of Photography David Omedes

Editor Koldo Idigoras

National distribution A contracorriente

International Distribution Latido Films

l) Technical dataGenre Musical drama

Original language Spanish

Duration 93 minutes

Final format DCP

Shooting format HD

Color/B&W Color

Sound Dolby Atmos

Filming 5 weeks as from 2nd of Feb.

Location Barcelona

First release September 2016

Country Spain

National distribution A contracorriente

International distribution Latido Films


PRESS OFFICELa Porteria de Jorge Juan

Trini Solano [email protected]

Maria Guisado [email protected]

Rocío Solano [email protected]

To see the teaser of the film:Link: https://vimeo.com/143895147To see the short making of. 8 min.https://vimeo.com/127011076To see the long making of. 20 min.https://vimeo.com/124792579

Press kit (dossier, press release, images, audios) in the webpage:

www.cercadetucasa.org

More information in the webpage and the social networks:

Facebook:www.facebook.com/cercadetucasa

Twitter: @cercadetucasa


http://www.facebook.com/cercadetucasa

http://www.cercadetucasa.org/




mailto:[email protected]



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