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“Olivia and the invisible earthquake,” Irene Abrara
With the approaching of the 2025 Annening Festival for the International Animation Festival, the expectation of the international show is based on the first presentation of “Olivia and the invisible earthquake”, an impressive suspension feature directed by Spanish director Irene Abrara, who fascinated in the French festival with progress last year.
It is quoted by the novel Maite Carranza “La Vie Est U”, the feature of stopping-the first of Catalonia-Olivia, who is 12 years old, which, after her family was spray Adjust.
IBorra, which you make for the first time in the outputs, brings manually manually film, using moving objects to create a tangible and emotional world. The film was praised for its sensitive filming of complex social issues, such as the insecurity of housing and parental depression, which makes it accessible to both children and adults.
Before she appeared for the first time in Annecy, Variety sat with Iborra to discuss the creative journey behind “Olivia and the Invisible Shakequake”, which are the facts of making the feature of stopping in Spain and the role of animation in dealing with real issues.
Diversity: Did you realize that you are making the first feature film to stop in Catalonia?
Irene Ibra: Frankly, no. I did not realize that it was the first feature film in Catalonia until we were already in pre -production. For me, what really matters was the story and its narration by stopping because of the texture and poetry that this technique brings, which is something you do not find in others. Only later not emptied that he had not been done before here. But we already had a society; I am a teacher in the Master's program that has been operated for 10 years. So people were already making short films to stop. This project felt as if it was a natural development.
The film is based on Barcelona, although it explores global issues such as the housing crisis. How did you approach the design of characters and groups?
We wanted to deal with difficult topics in a luminous and gentle way, making it visually enjoyable. The characters are designed by Morgan Navarro, a French comic artist. They are inserted, but since their clothes are made of real strength, they feel that they are close to us despite their abstract faces. For example, we used wool for hair, a tissue with it in my short films. I also deliberately avoided the typical round shapes of children's animation. Instead, we went to more specific lines, especially in the nose, to break this template while maintaining their attractiveness.
The groups are very realistic, including writing on the actual walls around Barcelona. I took pictures throughout the city with Morgan, and the beautiful design team brought it back. There is constant tension between dolls and realistic settings, which helps us to feel indulgence in the story and realize that it is a world made. Also, details have been carefully planned like making characters more saturated in color than backgrounds to emphasize our concept that people are the space around them.
Filming the movie for a strong Olivia anxiety. What affected your depiction of its inner world?
I really paid some limits here. It is difficult to present topics such as mother disease and Olivia's panic to children. So, while the Earth opens and goes in the dark, what you find is a more calm and inner space. The pressure of the fall is balanced with quiet lighting and gentle design as it descends. These decisions are made with the film, using light to make the environment a gradual calm.
In stopping shorts, mental health is a frequent theme, so you didn't feel strange to me. For Olivia, I liked the idea that fear can send us inside, to a personal space full of metaphors such as whale or furniture. This is where the solutions may lie. We discussed a lot about sound design as well; We did not want to terrify the children. I hope not to go away, although we will see the age group that responds better. The little brother is seven years old, but the film may be more suitable for eight, nine and above.
Given that this is a family movie, but also a social movie, how do you approach the distribution?
We have always seen a children's cinema. It is an adventure, enjoyable, emotional, and perhaps until the tears are sowed, but it is definitely an adventurer. We have great distribution partners: the pyramid at the international level, Filmax for Spain and strong support from broadcasters such as Televisión Española, TV3 (Catalonia) and à Point (Valencia). Belgian, Swiss and French television also on the plane. Despite the risks, many believe in the potential of the movie.
What are the biggest production challenges, especially to make your first feature movie stop?
We were excited but inexperienced. It was my first feature, and [producer] Michael [Mas]The first stop movie of any length. This led to stressful situations. The budget, despite its height in the first movie, was low for the stoppage, which means cutting the corners. Sometimes we had to sacrifice quality or perfection in favor of practical application. It was difficult for everyone, but I am happy with the balance we have achieved.
The arrival of the most experienced French and Belgian producers in installing things. But yes, we had to work under pressure, and sometimes difficult calls such as telling people, “this is not perfect, but this is what we can do with the resources we have.”
Do you think this opens the door for more stopping films in Spain?
This is only the third stoppage feature that was made in Spain, after “O Apóstolo” and “POS ESO”. So yes, it is rare. But this film greatly increased the level of the experience of the teams concerned. If another project of this scale will happen soon, I don't know; It is not easy to collect five production companies from all over the world again. But talent and know -how here now.
How was the preparation of production across many countries?
Initially, each company had its own space, one for dolls in Barcelona, another for groups in Valencia, some fashion, 3D mixture of Chile, and doll works in France. Ultimately, we allocated everything in a huge studio in St. Marti to shoot. Post-production-some of which were published in Switzerland, France, Belgium-but an exchange of physical shooting was in one place.
Are you planning to travel with the movie now after it ends?
definitely. I have been with this movie since 2017, with the adaptation of Maite Carranza, and I will not leave it now. I already have festivals lining up, including Annecy. I think this movie needs my existence. It is sensitive, it affects sensitive topics such as anxiety and depression. As an executive producer and director, I feel a strong responsibility for its support and explanation of the masses all over the world.
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