Miguelo García

Film director Juan Bravo is in a deep, existential funk: his latest film has been vilified by critics, and his friends, relatives and even business associates are wasting no time in badmouthing him. He seeks refuge in the city of Oviedo, Asturias, wandering the empty streets at night, going to parties that are veritable circuses full of wannabes, and attending concerts and religious and traditional ceremonies as he seeks inspiration for his next film. He reminisces about his childhood but, most importantly, that strange woman who asked him to visit her at her apartment at precisely 10 p.m., not one minute more, nor one minute less.

Acclaimed flamenco choreographer and dancer Fuensanta La Moneta is working on a new show when one of her students gives her a copy of Félix Grande’s poetry collection La cabellera de la Shoá. Written by Grande after his visit to Auschwitz, Fuensanta can’t stop thinking about those women —Jewish and Gypsy alike— who lost their lives in the concentration camp. The poems inspire her to create a piece that remembers these women through music, dance and poetry.

El Hogar