Dossier prensa película Ingrid en Inglés

http://www.ingridthemovie.es

PRESS KIT


STORY LINE

A disconcerting trip to the dark side and self-destruction of a young artist.

SYNOPSIS

After the break-up of his marriage, Àlex sets himself up in a new

house. There he meets Ingrid, an eccentric twenty-three-year-old

artist who, from now on, will be his neighbour. Concerts,

performances, parties and exhibitions are commonplace in the house

where a fascinating atmosphere of creative freedom prevails.

Ingrid and Àlex quickly develop a peculiar and close friendship, but little

by little he begins to discover that Ingrid’s enthralling world conceals

unexpected mysteries.


A

production

in association with

with the participation of

and the support of


TECHNICAL / ARTISTIC FACT SHEET Director and Scriptwriter Eduard Cortés

BNC producer Xavier Atance

TVC producer Susanna Jiménez

BNC executive producer David Matamoros

Production director Anna Vilella and Mª Ángeles

Hernández

Director of photography Bet Rourich

Editor Jorge Macaya

Sound director and sound design Xavi Mas

Mixes Marc Orts

Music Micka Luna

Art director Fernanda Chali

Costumes Aina Rigor / Julia Mayfair

Make-up Claudia De Anta

Director’s assistant Manel Martínez

Script Laura Hernández

Script collaboration Marta Puig / Lyona

CAST

Ingrid Elena Serrano

Álex Eduard Farelo

Olga Victòria Pagès

Bea Iris Salmeron

Diego Santi Bottino

Sonia Marta Morera

Ülrich Jürguen Müller


FESTIVALS

42 Festival Internacional de Cinema Fantàstic de Catalunya – Sitges

09 - Official Section.


FOREWORD

INGRID’S BEGINNING

It was September 2004. I was surfing around the internet and I

accidentally came across a fotolog page. I had no idea what a social

network of this type consisted of and when I went in it didn’t

immediately pique my interest, but I decided to browse a little more.

From that moment on hardly a day goes by in which I don’t waste at

least a half an hour surfing through those internet domains.

Indeed, a few weeks after that first visit I found a fotolog that fully

captured my attention. It had been started by a 22-year-old girl who

appeared in loads of photos. Some seemed to be of performances or

some other kind of artistically motivated activity. Most were

impeccably executed. Many others were presumably snapshots of

episodes from here childhood and adolescence. The texts written at

the foot of these images were very enigmatic and most of them

ended with the same phrase: “You’ll Never Catch Me”, which was the

title of the fotolog. Little by little I began discovering aspects of her

life, poking around those texts and those snapshots of parties,

concerts, trips, etc. She wasn’t Spanish though she lived here, she

had studied art and, besides the fotolog page, she had other online

spaces like a flickr page, a deviantart page, and later myspace. She

also posted drawings, music and videos she had done herself on

these sites.

I decided to write her at the e-mail address posted in her profile. I

didn’t have to wait long to get a response. For a while we exchanged


e-mails and one day we decided to have more fluent chats via

Messenger.

We quickly became close and because of that she described episodes

of her life that left me absolutely perplexed. I was fascinated by

everything she told me about her world, her obsessions. Amazed, I

tried to envision the episodes that subtly let me catch a glimpse of

what she called her dark side. I loved her photos, her videos, those

cryptic but so suggestive texts. And this is how it went on between us

for almost a year. Now she lived in Barcelona, but oddly, we never

managed to see one another.

Our relationship in those twelve months went through very different

periods. Sometimes she would disappear for a couple of weeks

without a trace. When she reappeared she was usually euphoric and

had tonnes of exciting things to talk about. Many of these stories

seemed totally unlikely; however she would always provide, at some

time or another, proof of their truthfulness. Sometimes it was a

photo, other times an object she showed me over her webcam, or

simply her face full of honesty assuring me that she wasn’t making

anything up.

Our friendship had lasted nearly a year when the day of our last chat

arrived. At the time there was no way I could suspect that I would

never talk to her again. That night I noticed she was feeling down.

The pace of her writing was much slower and her explanations were

surprisingly erratic. I asked her if anything was wrong and the truth

is it was hard to get anything like a solid answer out of her. She

wasn’t ok, but I never managed to find out why. She had gone to

Paris and she had come back different and she didn’t want to tell me

a word about it. She limited herself to asking me if she could trust me

and when I said of course she asked for my address so she could

send me a hard drive full of personal and artistic material that I

should hold onto in case anything happened to her. If that moment


should arrive, I could do with it whatever I thought best.

Then she said good-bye and I never heard from her again. For weeks

I watched the letter box, waiting for the promised hard drive to

arrive. But it never did. I spent days obsessed, fruitlessly searching

for her on her internet spaces, which also slowly disappeared without

a trace. With a sense of impotence that's hard to describe I felt her

dissolve into thin air.

It was then that I decided to reconstruct her figure, her spaces, to

make a film about her. A story in which I would dare to imagine what

might have happened to her and the content of that hard drive that

never arrived. It couldn’t be a normal story and it should have people

like her in it, people who daily post snippets of their lives on the

internet, shaping an emotional geography that from the first day had

me absolutely fascinated.

And this is how INGRID was born, and although the film is in great

part speculative fiction, it’s also true that a large percentage of the

things that happen in it are directly inspired by those chats I had with

her over the course of nearly a year, before she was unfortunately

swallowed up by the earth, or rather the net.

Ingrid is one of those characters that tries to find her own rules, her

own limits. And the film does nothing more than observe her, without

grand interventions, without judgement, from a perspective of

fascination and, on many occasions, perplexity. Little by little we

begin to fall in love with her, and little by little we begin to

understand how inevitable her self-destruction is.

Eduard Cortés


EDUARD CORTÉS

DIRECTOR AND SCRIPTWRITER Soon gave up studying History of

Art to devote himself to the world

of the image, where he started

off making short films in super-8

format and collaborating in

Sunday supplements, including

those of El País and El Periódico.

In 1984 he joined the recently

founded TV3 as director of music and youth programmes. During this

time he also made several video clips for singers like Loquillo. In

1991, he began his career as director of television series until 2000,

when he made his first TV-movie, La Caverna, produced by Canal +

and TV3. This work caught the eye of producer Pedro Costa, who

gave him the opportunity of embarking on his first work as cinema

director, La Vida de Nadie, starring José Coronado and Adriana

Ozores. This film won prize for best actress for Adriana Ozores at the

Festival of Valladolid in 2002, as well as the award for the best film,

best director and best performance (Marta Etura) at the Festival

Òpera Prima Ciudad de Tudela 2002; in 2003 it was nominated for a

Goya for the best new director, the best actress (Adriana Ozores) and

the best debut actress (Marta Etura). Otros Días Vendrán, with Cecilia

Roth and Antonio Resines, was his second full-length film. Otros Días

Vendrán has been nominated for a Goya in 2006 for the best original

script (Eduard Cortés and Piti Español), the best supporting actor

(Fernando Guillén) and the best photography (José Luis Alcaide).


Filmographie:

La caverna (2000). Director and scriptwriter

Mónica (2000). Director

La orquestra de les estrelles (2001). Director and scriptwriter

La vida de nadie (2002). Director and scriptwriter

Carta mortal (2003). Director

Amb el 10 a l’esquena (2003). Director

Otros días vendrán (2005). Director and scriptwriter

The clown and the führer (2007). Director and co-scriptwriter


CASTING

The starting point for the casting of Ingrid arose from different

internet spaces (fotolog, myspace, flickr, deviantart, etc.) and the

emerging artists that have conquered the net in recent years.

In Ingrid, most of the characters in the film play themselves and

many of them were incorporated into the script organically. This is

the case of artists like Micka Luna, Alvértigo, Lyona, Manos de Topo,

Serio Mora, etc.

Meanwhile, other artists made their debuts in Ingrid as actors playing

a role. This is true of the protagonist, Ingrid (Elena Serrano), and her

friends Bea (Iris Aneas) and Sonia (Marta Morera).

Ingrid also features actors with consolidated careers such as Eduard

Farelo (Eloise, Sevigné, Que t’hi jugues Mari Pili), Victoria Pagés (El

juego del ahorcado) and Jürguen Müller (La Fura dels Baus).


ARTISTS

Appeared as:

Musicians

Micka Luna (B.S.O)!

Mürfila ! Iris Aneas ! Krakovia ! Möno ! La Casa Azul ! Utraido !

Love of Lesbian !Her Only Presence ! Manos de Topo ! Russian Red !

Gone with the Pain ! Kids Pantera ! Poet in process ! Her only

presence !Chinese conspiracy !

Photographers

Alvértigo ! Vladimir Borowicz ! Darude ! Bulle ! Cordellia ! Encursiva

Lenoir ! Mutebox! Cha Blasco ! Misselaine ! Helaine ! GLM Studio !

Juan José Díaz ! Cordelia

Sculptors

Lyona ! Laia Llorca ! Sergio Mora ! Ruki !Agente Morillas ! Señorita

Jopelines ! Xavi Jalón ! Sae ! Io Casino ! Aitor Macías ! Daniel

Rodríguez !Guibo ! Möno ! Yai Vázquez

Performance artists

Ladypain ! Alfil


PRODUCTION

Benecé Produccions S.L. was founded in 1986 as an audiovisual

production company, and since then has carried out its activity in the

field of video, television, cinema and advertising production and

direction. The diversity of its areas of activity has made it one of the

few production companies in Barcelona working in all four audiovisual

categories.

More than 20 years’ experience has earned Benecé a name for itself

with television channels such as CANAL+, TVE, TVC and ARTE. We

see television as a space in which to experiment, take risks and, most

importantly, create new formats that combine entertainment with

culture. Our main activities are designed to meet the needs of an

audience with an interest in and desire to experience culture (visual,

dramatic and plastic arts, the sciences, among others). Benecé is

committed to finding new angles from which to approach these

disciplines. Some of our most notable programmes include La

importancia de llamarse, Detectiu, Tr3sC, La Revista de l’Espectacle,

Ambigú, Nostra Nau and Pinzellades d’Art.

Also in the field of television, since 1995 Benecé has been working on

a line of programmes for children and adolescents, covering all ages

from 0 to 16. Benecé’s aim is to foster the transmission of values and

the construction of personal criteria among these new viewers. We

produce animation and fiction series, DVDs, environments,

competitions and new quality formats specifically designed for children

and family audiences. Our aim is to blend entertainment with

information, using different techniques and audiovisual resources.

Some examples of our programmes are Ba-Ba, Nostranau, Què

Non?, Pinzellades d’art, Enginy, El rei de casa, Mira i escolta and


ESO. As well as creating other productions for television, home video

and new platforms, we have also begun a new line of production in

family shows (Els contes del Sr Nil, Tren de somnis, Pere i el

llop).

For the last 8 years, Benecé has also been developing its line of full-

length fiction films and documentaries, framed within the original,

inquisitive viewpoint of their creators, the rigour of their content and the

relevance to history and the contemporary world. This new line took off

with titles such as El Cas Pinochet (2001), by Patricio Guzmán, or

Cravan vs Cravan (2002), by Isaki Lacuesta. Recent productions

include Nedar (2008), by Carla Subirana; Ingrid (2008), by Eduard

Cortés; The damned (2008), by Isaki Lacuesta, El pallasso i el

Führer (2007), a film directed by Eduard Cortés; Dies d’Agost (2006),

the latest film by Marc Recha; Terra d’esperança (2007), by Jordi

Call; L’altre Rusiñol (2006), directed by Monti; El Dibuixant (2005);

Como Mariposas en la Luz (2005), the first work by Diego Yaker and

the documentary The Dragon House (2005), filmed in the Kingdom of

Bhutan.

Benecé has also participated in Film Festivals such as the Semaine

de la Critique (Cannes 2001), the Locarno International Film

Festival (2006), the Toronto International Film Festival (2001

and 2006), the New York Film Festival (2006), the Festival

Internacional de Cine de San Sebastián (2006), the Festival de

Mar de Plata (2006), the Festival de Málaga (2003 and 2006) and

the Festival des Films du Monde de Montréal (2001 and 2006).

Throughout its history, Benecé has collaborated on projects with all

levels of public administration: the Spanish government, the


Generalitat de Catalunya (Catalan autonomous government),

provincial governments and town and city councils. In recent years,

clients of note include the City Councils of Sant Boi de Llobregat,

Vilanova i la Geltru, L’Hospitalet de Llobregat and Barcelona; the

Autonomous communities of Aragon and Catalonia; and the Spanish

government (Institute for Foreign Trade). Our priority is client

satisfaction, our philosophy is dialogue and our most important

characteristic is our capacity to adapt.

Benecé has a vast experience and extensive advertising archives. We

encourage each director to develop his or her own distinctive style,

different from the rest, so as to offer our clients the best option to suit

each project.

Benecé has its own recording and post-production teams and provides a

wide range of services matched to each client’s project: production, post-

production, graphics, sets, ENG, mobile film unit, DSNG, etc. In addition,

we have meeting areas, a kitchen, dining room and offices; all designed

to give employees and clients the maximum quality, flexibility, autonomy

and comfort.

Benecé has its own motion graphics lab applied to audiovisual

production; a space where young creators work with the latest

available equipment on the market. Their talent is moulded to any

project, lending innovation, quality and sensitivity to all our

productions.

One-off events and live shows comprise this area of Benecé’s activity,

which has produced and designed the following gala events: National


Culture Awards; El Sol. Ibero-American Festival of Advertising

Communication in San Sebastián; the 75th Anniversary of Caixa

Catalunya; and the 25th Anniversary of the Catalan Statute.

Benecé’s team of professionals is made up of 30 permanent staff and a

carefully selected group of collaborators who bring their specific

viewpoint to each project: directors, photography directors,

scriptwriters, editors, casting directors, producers. Teams are created

according to the characteristics and demands of each project to obtain

the best image quality throughout the whole production process, from

filming through to the final editing.


Prensa Benecé Produccions Sílvia Bel

e-mail: [email protected] Tel. 93 284 07 19 Mob. 637718624

Passatge Tona, 10 08023 ! Barcelona

Dossier prensa película Ingrid en Inglés

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