It is no accident that the artist imprisoned in an abandoned Siberian power plant in The Distance is reminiscent of Joseph Beuys. This is a film that is equally Dadaist and unpredictable, like the German’s performance art, combining shamanism with a love of learning. Sergio Caballero bravely enters the domain of the absurd, making an even more bizarre narrative than in his debut film, Finisterrae. Three telepathic dwarves are given a task by the prisoner: to steal the object of the title, whatever that happens to be. Along the way, the protagonists meet a mutant guard and a smoking barrel that reads out haiku in Japanese and is in love with a chimney. The director turns the conventions of a heist movie on their head, which he achieves to comic effect through the use of dragged-out scenes and surprising editing. Not in a hurry to get anywhere, the film evokes the spirit of Tarkovsky’s Stalker. The main point is to have a laugh, but not only, as in the shadow of the impressive Russian landscape there is hidden a surprising melancholy.
Born in 1966, Sergio Caballero is the co-founder and artistic director of the Barcelona-based Sónar festival. He also makes electronic music and is a conceptual artist. His debut film, Finisterrae, garnered the main prize at the International Film Festival in Rotterdam.He makes films in reverse, first thinking of images that he then arranges like a musical composition. Then he chooses locations, and only then does he write the screenplay.
2014 Ancha es Castilla / N'importe quoi (short)
2014 Dystans / La distancia / The Distance