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Feature film “MARTA CARRASCO”

When Marta Carrasco comes on stage with such human complexity and physical dedication, she dives in at any cost. Not dying makes her strong.

Alba Morera

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We have just shot a feature film about the creative world of Marta Carrasco where we have recreated two scenes from each of her shows, letting the characters themselves intertwine the 30 years of this unique artistic journey.

We need your support to be able to put the film together!

MARTA CARRASCO IS AN AVANT-GARDE CATALAN CREATOR WHO HAS CREATED A NEW GENRE: IT IS NOT DANCE, IT IS NOT THEATER OR DANCE-THEATRE; IT IS CARRASCO. IT IS IMPOSSIBLE TO LABEL.

THE CREATOR

  • She is an artist who leaves you glued to your seat.

  • It's all viscera and surprises the stomach in an unusual way.

  • She is a performer who feels very close to the viewer, no matter how strong the image she sends.

  • She is a creator who breaks molds and does not mind crossing politically incorrect barriers. It goes directly through them all, with the risk that this entails.

  • She is a director who knows how to convey very powerful emotions to the audience.

  • The intensity and the truth are what sets her apart from other creators.

  • She is shy and when she goes on stage she transforms.

  • She is obviously a feminist.

THE PERSON

  • She only feels, she doesn't think.

  • She has no self-awareness.

  • She has no limits because she doesn't know how to do it any other way.

  • She wants to bring out the good and the precious from the dark side.

  • She helps others grow.

“No em fa por expressar la nostra humanitat des de la foscor.”
“No em fa por expressar la nostra humanitat des de la foscor.”

AN INTIMATE STORY ABOUT DUALITY

This film narrates the personal and professional trajectory of Marta Carrasco who has two faces:

  • Marta Carrasco the leader in theater (the implacable beast)

  • Marta Carrasco the flea in life

These two Martes have one heart, but this heart varies greatly depending on whether she is directing or not, whether she is on a stage or not, whether she is helping others or not.

SINOPSI

AIGUARDENT From the coherence of the suicide, Violeta drinks brandy because she cannot bear the human reality.

BLANC D’OMBRA. RECORDANT CAMILLE CLAUDEL 1910. Camille is a nuisance to society for being a sculptor and being independent. Stubborn as she is, she will reach the ultimate consequences of being a woman and being an artist. She ends up in an asylum for thirty years.

MIRA’M The five imperfect take refuge in each other to stay alive. They survive because they are imperfect.

ETERNO? AIXÒ SÍ QUE NO When there is no tenderness, the five raws know the disadvantage of having been born.

GA-GÀ A fauna of tender and wacky characters laugh on life support so they don't die.

J’ARRIVE A festive and transgressive reunion brings together the characters of the last ten years.

BIN&GO Two hooligans, completely loose, start from improvisation as a motor.

DIES IRAE, EN EL RÈQUIEM DE MOZART The irreverent thirteen cross the red line, making a fierce criticism of the Catholic Church and the atrocities it has committed.

NO SÉ SI Two twins, one thin and one very fat, live everything as if they were the same, but society insists on highlighting their physical differences.

B.FLOWERS Three women question their existence once they are cut, like a flower that is cut to die slowly at home.

PERRA DE NADIE Eight wild women who live inside Marta show us all the faces they can have as women and as nobody.

JO DONA, A LILI ELBE It is a struggle for her identity as transgender.

The struggle of all these characters in Marta's creative world continues... and she continues to fight every day to live.

CHARACTERS

TONE AND VISUAL STYLE

We have evoked the essence of Marta Carrasco's creative world, looking for elegance and visual poignancy with a direct, intimate and raw tone. The colors are vibrant. The style is poetic, but contrasting.

We kept a certain scenographic minimalism so that the force of emotion and the shocking images of Carrasco had full protagonism. We ran away the reporting style and the interview format in order to feel the emotions in a visceral way at all times.

The chronology of her shows will dictate the narrative structure, starting with the opening sequence of "Aiguardent" in the middle of darkness and in complete solitude, where the flame of a match ignites an emotional journey that we will follow hand in hand of the characters, from the suicidal Violeta to transgender Lili Elbe. We created transitions of different types with the characters themselves to connect one show with another in a fluid way.

Still frame from the film´s opening sequence
Still frame from the film´s opening sequence

Still frame from the film´s final sequence
Still frame from the film´s final sequence

We will end with a last supper in the Fellini style, past turns, grotesque and deeply human, where all the characters of the Carrasco Universe have been invited. The photographer David Ruano has immortalized this reunion of emotions and lived experiences (in short, a catharsis) with his attentive gaze on Marta, with whom he has a special complicity that is felt in every photo he has taken throughout his career.

David Ruano in action, creating a scene for the film´s poster.
David Ruano in action, creating a scene for the film´s poster.

Precisely, it will be the photographs of the Ruano (intertwined with the scenes from each show we have recreated) that will take us to the past, on stage. These photos have been recorded in detail in the context of an installation made by scenographer Josep Castells (in collaboration with Luc Berger) combining photographic elements with props, costumes and scenography from the Carrasco shows.

We have located this facility in the middle of nature, taking advantage of the circular structure of an old stable with beams, pillars and wrought iron doors. It is a space full of textures and lines of escape, surrounded by trees and with Montseny as a background. The light, the breeze, the melody of the branches and the calmly flowing water embrace this representation of the Carrasco Universe, with the passage of time present. It is a world full of flowing emotions.

We asked his collaborators to participate in this project: Quico Gutiérrez (lighting design), Joan Valldeperas (scenography and costume technician), Rui Alves (costume designer) and the interpreters who be part of the creative Carrasco family like Cris Sirvent, Carme González, Noemí Padró or Pepo Blasco. Working with the same performers (all familiar with the Carrasco language) twenty years later has allowed us to go deep and relive the shows with the wisdom that time has given them. The reunions we have recorded are moments of reconnection that we will take advantage of to find out what the experience with Carrasco meant for each of them and how it transformed them.

"Carrasco" family.
"Carrasco" family.

We shot simultaneously with three cameras which also show us how Carrasco rehearses, directs the performers and the space she creates so that they throw themselves into it and go beyond what they imagine.

Multicamera.
Multicamera.

Rhythmically, we will have changes depending on the prevailing emotion: the explosion of anger, the turbulence of chaos, the slowness of sadness, the opening of tenderness...with the silence of an empty stage and the stillness of the scenography of each scene without performers as brackets.

For the sound space, we have some moving music from Carrasco's shows and others chosen specifically for the film, in tune with her exquisite musical taste that always has an emotional impact.

“I want to get to the essence at any cost”
“I want to get to the essence at any cost”

DIRECTOR´S STATEMENT

From the moment I saw her first show “Aiguardent” in 1995 at Sala Beckett, I knew I was dealing with a transgressive artist, with a voice of her own that is difficult to define and a very direct and visceral emotional expression . That solo hit me deeply.

In the autumn of 2021, just when I returned to Barcelona after a long life stage in Los Angeles, I met again with the poignant essence of Marta Carrasco in "Blood", a proposal about gender violence that I had made with five women from different artistic fields, with the support of Cardedeu Town Council. I spoke with her after the performance and we stayed to have breakfast together during the rehearsals of her show "Jo dona, a Lili Elbe" which was about to premiere at the Teatre Nacional de Catalunya.

I felt like I had known her for ages. During that first conversation I felt that we had a lot in common and soon we started to collaborate: doing the choreographies and dialogues for the movie "Torn'm la vida", bringing "Perra de Nadie" to the Latino Theater Company of Los Angeles, the theatrical proposal "Délices" and other projects.

I soon realized the importance of making a documentary about this pioneering creator and beast of the stage.

“Beauty of imperfection is unique.”
“Beauty of imperfection is unique.”

La Carrasco is in a moment of change where she has just closed her company after 30 years of poignant creations. In this new stage, she does not feel the need to create new shows or to go back on stage after having done it for so many years and in a very intense way. Her way of working and her creative language is so personal that it cannot be taught or passed on to anyone else. It will stay here.

That's why I made this documentary: to record the Carrasco Universe, the unique genre he has created and her transformative spirit, both on a human and artistic level. Otherwise, her legacy would die with her.

It is very important to share stories like hers where the beauty of imperfection is valued and vulnerability is shown as strength. It is a communication from the heart, without filters, with elegant poetics and at the same time a human rawness that does not leave indifferent to anybody. La Carrasco has the courage to get rid of all the artifices to present us the soul in its pure state, both in the light and in the dark, thus offering us a wealth of emotions that few artists know channel so incisively. She works from the truth, from the essence of emotion, giving it shape with the most forceful image, always feminist.

“Anyone who hasn
“Anyone who hasn't had a dog doesn't really know what love is.”

Another component that motivated me enormously was shooting this film with 60-year-old women like Carrasco, when their body (their tool of expression) has changed as a result of menopause. It's beautiful to see how they continue to unapologetically express all that they are! It angers me to see how in our patriarchal society women become invisible after 50 and often fiercely compete with each other, instead of working together to move forward.

Presenting the characters with the same performers as before but now, years later, has been the way to enter this emotional journey that denotes a lifetime. We recreated two scenes from each of her shows, letting the characters themselves intertwine the 30 years of a unique artistic journey like hers.

“Don´t think. Do it.”
“Don´t think. Do it.”

Trust in our relationship as collaborators and friends has allowed for intimate and sincere conversations that will help us shape this film. With an avid and respectful look and an artistic sensibility close to the Carrasco essence, I will be able to pay homage to this avant-garde and committed artist.

EARN EXCLUSIVE REWARDS

Marta Carrasco Folder

  • Laminated cardboard folder with a unique design that can only be obtained during the campaign.

  • Pick up at the Compàs de Cardedeu bookshop or shipping included in the Peninsula.

Photographs by David Ruano

  • Photographs of Marta Carrasco's shows

  • Various sizes: 24x30, 30x40 and 30x45

  • Mate

  • Limited edition

  • There is a reward that includes a dedication from Marta Carrasco on the back of the photo.

  • Pick up at the Compàs de Cardedeu bookshop or shipping included in the Peninsula.

Making of the film

  • It will show the cinematographic process and how Marta Carrasco works

  • Available online. The link will be sent via email.

CD with music from the film

  • Collection of music from Marta Carrasco's shows that have been used in the film.

  • Available online. The link will be sent via email.

Viewed exclusively from the film

  • Exclusive viewing of the film before it opens in cinemas.

  • Available online. The link will be sent via email.

Tickets for the premiere

  • 2 tickets for the premiere of the film.

  • You will be able to meet Marta Carrasco and the film team.

  • Tickets will be sent via email.

Associate Producer

  • You will be listed as an associate producer in the credits of the film if you bet on this project as a super patron with the maximum contribution.

TEAM

ALBA MORERA (Screenwriter/Director)

Alba Morera is a screenwriter, director and photographer that resides in Barcelona and Los Angeles.

She holds a BA in Audiovisual Communication from UPF. She received "la Caixa" Scholarship to complete graduate studies in Directing and Screenwriting at the Los Angeles Film School where she directed several short films. "Wall/Paper" was distributed by Canal + and Masesmas.

She worked as assistant director and script supervisor before starting to collaborate with Venezuelan filmmaker Fina Torres. She became a script reader at Esperanza Productions and, later on, the director of development at Goff Productions. Until 2021, she directed music videos, documentaries and promotional videos through her production company (AMPM Productions) while writing feature scripts.

She is currently developing a feature narrative film ("Torna'm la vida") and she has also just finished filming her first feature-length documentary "Marta Carrasco". She is the official videographer of the Barcelona Jazz Festival and also works as a photographer at Alba Morera Photography.

She has been an active member of the Sundance Institute, Film Independent, Women in Film, Dones Visuals, SGAE and the JSFL community (https://joanscheckel.com) that is led by Joan Scheckel, her master teacher.

QUICO GUITIÉRREZ (Lighting Design)

Since 1970, he has joined several independent theater groups, dedicated himself to production within the Nova Cancó area and participated in the organization of the Canet Festivals.

His first illuminations were carried out during Ovidi Montllor's tours. Until 1988 he worked as a technician and illuminator for several theater companies. In 1989 he joined the Technical Team of the Dramatic Center of the Generalitat de Catalunya at Teatre Romea.

Since 1992 he has collaborated with prestigious directors such as: Marta Carrasco, Sergi Belbel, Ramon Simó, Mario Gas, Mathias Langhoff, Jose Luis Castro, Herman Bonnin, Maurizio Scaparro, Joan Ollé, José Luis García Sánchez, Lluis Homar, Manel Dueso , Luis Olmos, Ricard Salvat, Joan Mª Gual, Magda Puyo, Juan Carlos Martel, Vincent Boussard, Lindsay Kemp, Dmitri Bertman and J.L. Bozzo in a large number of theater shows, opera, dance, circus, musicals, concerts, marionettes...

He has received several Max Awards, Butaca Awards and the Barcelona Critic's Award, among others.

DAVID BOFARULL (Lighting Design Assistant)

He has worked in the field of lighting in live music, dance and theatre, assuming the roles of technician, operator, assistant, designer. He has also been teaching since 2000.

The latest works to highlight are:

  • FOR EVITA at the Teatre Grec, directed by Jordi Prat i Coll (Bitó Produccions).

  • IN THE BEGINNING EVERYTHING WAS WHITE at the Gran Teatre del Liceu, directed by Jordi Oriol (Liceu Production and IED).

  • THE JOY THAT HAPPENS at the Poliorama Theatre, directed by Marc Rosich (Dagoll Dagom).

DAVID RUANO (Photographer)

He is the official photographer of the TNC and a reference in the field of performing arts: author of the images of more than a thousand theater, dance and music shows, as well as portraits of very diverse artists.

David Ruano has created a very celebrated style of his own in show posters. He has done more than 1,000 in the TNC alone. One of the secrets is not to take only a moment of the work as it was done years ago. Ruano generates a whole scene of its own and thus the poster takes on another dimension.

His way of working has created a school that many professionals follow.

ROGER CASSANY (Camera Operator)

Journalist and filmmaker passionate about cinema and images.

He has worked on all kinds of audiovisual projects (video clips, dance videos, commercials...).

He has directed two documentaries:

  • FEEDING HAVANA'

  • SOMEWHERE, A PENTRAGRAM LIKE A STREET.

JORDI CARREÑO (Camera Operator)

He started behind a camera in 2004 and to this day has developed different tasks related to the audiovisual world working for television, cinema and the internet, always looking for a good framing.

He has collaborated with different producers and producers such as Dortoka, Red Vinilo, Chester Producciones and Flitcut.

He also collaborates with different media such as VilaWeb and "Ets el que menges".

RONEN GEVA (Production Sound Mixer)

He began his career in 2006 at Eshel Recording Studios in Tel Aviv. For seven years he combined the tasks of recording, mixing and post-production of jazz, classical and contemporary music with his passion: direct sound for documentaries.

This has led him to participate in more than a hundred films, including:

  • DISTURBING THE PEACE

  • MUHI: GENERALLY TEMPORARY

  • THE SETTLERS

In 2016, Ronen moved to Barcelona with the desire to face new challenges in the world of documentary cinema and participated in films such as PENÉLOPE by Eva Vila, S'HIVERN by Pau Pericas and CITY FOR SALE by Laura Alvarez, productions which he has combined with the work of direct sound in television programs such as Polonia (TV3) and Recepta Perduda (RTVE).

JOSEP CASTELLS (Production Designer)

Together with his brother Jordi, he created CASTELLS I PLANAS DE CARDEDEU, a scenographic construction workshop, from where they and some of their descendants have created scenographies for theater companies such as COMEDIANTS, LA CUBANA, DAGOLL DAGOM or LA FURA DELS BAUS.

He has also worked for film, television and advertising.

In 2015 he was awarded the CROSS OF SAINT JORDI "for the creativity and craftsmanship demonstrated over more than three decades and his valuable contribution to culture.

JOAN VALLDEPERAS (Production Design and Costumes Supervisor)

He became part of Cia Marta Carrasco with the J'ARRIVE show as stage and costume manager.

Later, he was introduced to the world of the sound of the hand of his teacher Guti Gutiérrez. He is a sound technician at NO SÉ SI and continues to collaborate with Marta Carrasco for years. He is also in charge of the musical editing of PERRA DE NADIE.

He has also worked for the company of Pep Bou and Cesc Serrat.

Other team members: MARTA FIGUERAS (Consulting Producer); BERTA GARCÍA (Production Assistant); SERGIO ROCA (Lighting Technician); XAVI VILLANUEVA (Vilanova del Vallès Theater Technician); NICOLAS HERMANSEN (Additional Sound).

ACTORS

MARTA CARRASCO

PEPO BLASCO

ANNA COLL

MAJO CORDONET

SÍLVIA GARCÍA MUNTÉ

CARME GONZÁLEZ

LAURA MIRALBÉS

ALBA MORERA

NOEMÍ PADRÓ

CRIS SIRVENT

JOAN VALLDEPERAS

WHERE YOUR CONTRIBUTIONS WILL GO

We will allocate your contributions to:

1) to the editing services of the film which will take place from December 11 to February 29.

I will be the one to put together this creative documentary myself because I am the person who knows all the material shot for a year and I am clear on how to start fitting all the pieces. I put many hours into this project as an unpaid camera operator, writer and director so that we could make this beautiful film on the budget we had, but a creative documentary of this style demands absolute dedication in the editing room to do a job well done and get the most poignant version of the story.

My intention is to bring in a second editor towards the end of the editing phase so we can grow the story together. It would make a good tandem with an artist like Sergi Dies, who has an unconventional look and whom I have known for years. Your collaboration is included in your contributions.

2) to a veteran producer like Marta Figueras to advise us and manage the necessary procedures to present the project to TV3, to the ICEC subsidies of May 2024 and to other cinematographic support programs. It will be done through an audiovisual company that will join the project as a leading producer.

During this editing phase, I will also seek additional funding for the rest of the post-production (color correction, post-sound, final mixing and mastering) at the MOONLIGHT lab with whom I have previously worked.

CALENDAR

  • Verkami Campaign from November 1 to December 10

  • Post-production of the film, organized as follows:

  • assembly: December 11 to February 29

  • color correction: March 4-15

  • postpo sound/pre-mix: March 18-29

  • final mix and mastering: April 8-12

All rewards will be delivered starting April 15th, once we have the DCP and a ProRes4444 copy of the film.

+ INFO

Jeff Slayton´s article on the LA Dance Chronicle

Follow the project also on Instagram of:

You can find more information about the director at:

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4 comments

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  • Way to go! Hope you get the total funding!!

  • John Maybee

    John Maybee

    6 months

    Beso!

  • donok

    donok

    6 months

    So beautiful! Congratulations on this project. xoxox

  • agustí morera cortines

    agustí morera cortines

    7 months

    És una excel·lent pel·lícula on la Marta Carrasco desprèn amor i energia

#02 / La nostra campanya Verkami ha estat un èxit rotund!

La nostra campanya Verkami ha estat un èxit rotund i hem aconseguit un 150% de l’objectiu inicial amb 159 aportacions.

Moltíssimes gràcies a cada un de vosaltres per formar part de l’equip com a mecenes i per fer possible que aquesta pel·lícula vegi la llum del dia!!! L’amor i suport que hem rebut han estat brutals i estic emocionadíssima. No tinc paraules per descriure aquesta sensació després d’un llarg viatge (anys!) per aconseguir dirigir la meva opera prima.

Tothom s’hi ha implicat amb tant talent, respecte, dedicació, màgia i humanitat… no tinc cap dubte que això se sentirà a la gran pantalla, on podrem deixar constància del llegat i expressió única d’una creadora pionera de les arts escèniques com és la MARTA CARRASCO a qui li estic infinitament agraïda per confiar-me, deixar-me viure i compartir el seu univers creatiu i personal més enllà dels escenaris.

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#01 / HEM ACONSEGUIT EL NOSTRE OBJECTIU!!! WE’VE REACHED OUR GOAL!!!

HEM ACONSEGUIT EL NOSTRE OBJECTIU I VOSALTRES HO HEU FET POSSIBLE!!! Mil gràcies pel vostre suport i per creure en aquest projecte!

Avui hem establert un segon objectiu de 10.000€ pels 27 dies de campanya que ens queden.

Aquest nou objectiu ens ajudarà a cobrir part dels COSTOS DE POSTPRODUCCIÓ, concretament el disseny de so que farem a La Fábrica de Carbón i la correcció de color/etalonatge al laboratori Moonlight.

Hem treballat anteriorment amb aquests equips professionals de postpo pel curt “Torna´m la vida”; es va crear una dinàmica de treball tan maca que repetim amb ells!

Si arribem a aquesta nova meta, tots els mecenes rebreu recompenses addicionals:

  • escenes inèdites que no s’hagin inclòs a la pel·lícula

  • una làmina digital amb imatges de les llibretes de la Marta Carrasco que mai s’han compartit

  • un passe privat de la pel·lícula a una sala de cinema abans de l’estrena oficial (només per a les recompenses de 65 en endavant)

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