Shortlisted for Best Live-Action Short Film at the 2025 Academy Awards.
Paris 70 is a drama that focuses on Alzheimer's caregiving. A son cares for his mother, who suffers from Alzheimer's.
1. You made the film in collaboration with several Alzheimer's organizations. How did their support and input change the film?
To answer this question, I would like to start from the beginning. When I was seeking public or private funding to produce "Paris 70", I thought it would be a good idea to share the script with various Alzheimer's and palliative care associations and foundations in Spain. Funding in Spain is a very tedious and lengthy process due to public subsidies. Everything operates on a points system and criteria tailored to the big production companies that dominate the market. For this reason, it took me almost two years to produce "Paris 70," and I did it with very little public help. I had to finance the short film with my own savings. The public subsidies did not give us the necessary points. It's ironic now, after seeing that it is the most awarded short film of the year in Spain and was nominated for the Goya Awards by the Spanish Academy.
In summary, with all the waiting time, I was able to receive the endorsement of several foundations. Their response was that we had to tell this story. They told me it would be very good to highlight the role of the caregiver, who is often invisible to everyone and whose hard work is not recognized. It would also serve to talk about Alzheimer's disease. I did this to ensure that I was not telling a frivolous story and to be sure of its realism. The experts explained to me that each Alzheimer's patient is a different case, and my short film could be perfectly possible. With their support, I felt ready to shoot, and so I did.
Once I finished "Paris 70", I contacted the foundations again and offered the short film for free so they could screen it in their organizations. Currently, the film has been shown in over 80 Alzheimer's family associations, in some of the most important hospitals in Spain, and at various medical conventions. The feedback we receive from the socio-health sector is very moving. They say that "Paris 70" is a tribute to caregivers and Alzheimer's patients and that it recognizes the hard work that caregivers do for many families who have given their lives for another person. It is important to note that Alzheimer's is a disease that not only affects the patient but also their entire family environment. For me, this is more important than all the awards in the world. The power of cinema as a tool for social transformation is incredible.
2. What themes and subject matters interest you as a filmmaker?
As a filmmaker, I am interested in many different topics; I don't want to be a niche director. Throughout my career, I have directed everything from romantic music videos to family dramas, as well as horror and thriller short films. In cinema, my main goal is to tell good stories that move and entertain.
For years, I have worked as a commercial director and have collaborated on various campaigns for social associations, mental health, Alzheimer's, Parkinson's, and with people who suffer from social exclusion. I want everyone to get involved with a social cause at some point and help others. If I can use my knowledge for that, I do it gladly. Perhaps this is why I had no doubts about contacting Alzheimer's foundations when creating "Paris 70"; for me, it was a natural process. If my films can help a social cause while also entertaining, even better. However, my priority is to tell a beautiful story.
3. Which films/directors have influenced you as a filmmaker, as well as your film, Paris 70?
Generally, I don't think my short film has very clear references when it comes to directing. I like to find the style of each film during the production process. I try to mix everything I've learned with things that have recently inspired me. All this knowledge is part of my mind during production, and it translates into the film. The crew that accompanies you on the journey also has an influence. I believe "Paris 70" wouldn't be the same film if it had been shot a year earlier or with a different technical team
That said, one of my favorite directors is Alexander Payne. I like almost all his films, especially "Nebraska," which inspired me in many ways to direct "Paris 70." I'm also a fan of the composer Mark Orton, and I shared his soundtracks with Laura Cruells, the composer of "Paris 70," to find inspiration in his music. Another film that had a significant impact on me during that time was "A Sun," a Taiwanese film directed by Chung Mong-hong, which I consider a masterpiece.
4. You dedicate the film to both your grandmother, who passed away from Alzheimer's, and your mother, who took care of her. Why was it important to commemorate them both?
I love that you asked this question. I believe it's beautiful to find a direct connection between the film you're directing and your real life. For me, this is what allows each director to tell a unique story, even if they all start from the same script. Don't you think? Two different directors with the same script can create very different films.
In my case, I experienced Alzheimer's in my family, like many families, unfortunately. Alzheimer's is the epidemic of the 21st century, and the number of cases increases every year. My mother took care of my grandmother in our home until she passed away, which lasted several years. At that time, I wasn't living at home, but I saw great courage in my mother. It's very hard to care for a patient 24/7. I thought making this film would be my way of thanking my mother for everything she did for my grandmother, who took care of me when I was little. Interestingly, I didn't show the short film to my mother until eight months after it was finished. I thought she would get too emotional, I don't know. When the short film started winning awards at festivals, my mother asked to see "Paris 70" every week, and eventually, I showed it to her. It wasn't as emotional as I had feared. In a way, "Paris 70" is a tribute to all the people who have had to be caregivers, just like my mother.
5. What do you want audiences to take away from your film?
This is a difficult question for me to answer. A film represents something very personal for a director. Usually, you have dedicated a lot of time in your life to complete it. When you direct a short film or a movie, you expose yourself a lot. I believe everything is magnified with cinema, and you can become a voice for a social issue without intending to. It has never been my intention to teach my audience a lesson; I just want them to enjoy what I do and have a good time. If they also feel moved and reflect on something, even better.
My ambitions do not exist with "Paris 70". I didn't want to pay tribute to anyone, either. I want the audience to understand that directing is a complicated and lengthy job. I believe that when you release a movie, the audience makes it their own, and you stop being the owner. They will find the true meaning of your film. That "Paris 70" is now on the Oscars shortlist is incredible. It is a small, self-financed family story but with spirit, delicate, emotional, and inspiring, which has won over many short films that are big productions. A large budget does not guarantee that you will move the audience. And this, for me, is real cinema.