After debuting in Venice, the film screened in Toronto. Seminci marks its Spanish debut. The intimate mystery unspools into a much larger narrative about the state of modern-day surveillance. A Seminci world premiere. In this debut feature documentary, a film crew travels across northern Spain, following in the footsteps of the clandestine journey undertaken by the Cantacronache music group who, in the summer of , collected popular songs of resistance.
Through the parallel journeys, the emotional and political geography of a territory where wounds of the past remain open is slowly revealed. In the film, three young women separated by decades and thousands of miles are terrorized by the same ethereal threat that nobody, not even them, can properly see.
But they all hear a skin-tingling wailing in its presence. Bidding fair to become one of the most talked about Spanish series β or films β of the year. Certainly not Maria, a promising novelist and new mother, who is increasingly haunted by the threat of a monster: Herself, and her fears of committing infanticide. Energized by a pulsating orchestral score by Zeltia Montes, an unsettling film which takes Maria to the High Pyrenees as she tries to understand her feelings which, Coll suggests are outside our moral compass but much more common than imagined.
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