{"id":708,"date":"2014-08-02T10:00:34","date_gmt":"2014-08-02T10:00:34","guid":{"rendered":"https:\/\/troposfera.xyz\/ca\/?p=708"},"modified":"2026-05-08T10:33:18","modified_gmt":"2026-05-08T08:33:18","slug":"326-mormurs-inside-cinema-retreci","status":"publish","type":"post","link":"https:\/\/troposfera.xyz\/en\/blog\/326-mormurs-inside-cinema-retreci\/","title":{"rendered":"326 Mormurs dins Cin\u00e9ma R\u00e9tr\u00e9ci"},"content":{"rendered":"\n

I met Nadine in Toulouse, when she was creating Amor en tiempos de Ikea<\/em>. It was a really good time, sharing hours and training with Nacho Flores and the Subliminaty Corporation<\/em> crew.<\/p>\n\n\n\n

I\u2019ve always liked Nadine\u2019s universe. Unapologetic and willing to get dirty in the mud. It\u2019s visual, it\u2019s theatrical, but when you work with her, you realize that everything that feels intuitive is actually very well thought out.<\/p>\n\n\n\n

When she invited me to take part in Cin\u00e9ma R\u00e9tr\u00e9ci<\/em>, I was interested for a clear reason: the project combined circus and cinema inside a caravan transformed into a performance space. It seemed like a great place to test a fragment of 326 Mormurs<\/em> and see what echoes we could create through the projections inside the caravan.<\/p>\n\n\n\n

Intersecting Fragments<\/h2>\n\n\n\n

The videos worked as another layer of the live show. They appeared as visual echoes of the village, fragments that kept the connection with the outside alive. They came and went, adding textures to what was happening live. They were projected from inside the caravan and intertwined with the scenic action, creating moments where what had been recorded during the week became present again, but from another perspective.<\/p>\n\n\n\n

All the stop-motion sequences were created right there. With found materials, street sounds, old papers, natural light. No script, no plan. Just attention. What we did was observe, listen, and build.<\/p>\n\n\n\n

Jetty Kane and Her Ghosts<\/h2>\n\n\n\n

Jetty Kane is a larger-than-life character. She takes up a lot of space, but doesn\u2019t close it off. Nadine uses her as a channel, not an end. A diva who sneaks into local stories, not to impose, but to serve as a bridge.<\/p>\n\n\n\n

The fragment of 326 Mormurs<\/em> that we included worked as a parallel layer. Another frequency. There was no need for a shared dramaturgy. We connected through listening and our relationship with the place.<\/p>\n\n\n\n

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