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RED MOON TIDE​​​
by Lois Patiño

84min | Spain | 2020

Time seems to stand still in a village in the Galician coast. Everybody there is paralysed although we can still hear their voices: they talk about ghosts, about witches, about monsters. Three women show up, they are trying to find Rubio, a sailor that has recently disappeared in the sea.​

Original Title Lúa Vermella
Year of production 2020
Length 84min
Country Spain
Shooting Format Digital
Aspect Ratio 1:1,78
Dialogue Galician
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Director Lois Patiño
Producer Felipe Lage Coro, Iván Patiño
Production Zeitun Films, Amanita Studio
Writer ​Lois Patiño
Line Producer Nati Juncal  
Cinematographer Lois Patiño
Editor Pablo Gil Rituerto, Óscar de Gispert, Lois Patiño
Sound Designer Juan Carlos Blancas
Sound Recorder Ánibal Menchaca
Sound Mixer David Machado

Costume Designer Judith Adataberna
Art Director Jaione Camborda
Cast Ana Marra, Carmen Martínez, Pilar Rodlos, Rubio de Camelle
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Festival selections
Berlinale Forum 2020, Germany - World Premiere
New Directors/New Films 2020, USA
Festival Internacional de Cine de Cartagena de Indias - FICCI  2020, Colombia
FICUNAM - Festival Internacional de Cine UNAM 2020, Mexico
Festival de Málaga 2020, Spain - Best Film (Zonazine Section)
IndieLisboa International Film Festival 2020, Portugal
JEONJU International Film Festival 2020, South Korea
Shanghai International Film Festival 2020, China
Pesaro Film Festival 2020, Italy
Beldocs International Documentary Film Festival 2020, Serbia
Curtocircuíto - International Film Festival 2020, Spain
Montreal Festival du nouveau cinéma 2020, Canada
Cinespaña Toulouse 2020, France - Violette d’Or (Best Movie Award),  Best Photography Award, Special Mention by Young Filmakers Jury 
IDFA - International Documentary Film Festival 2020, The Netherlands
Viennale 2020, Austria
Mostra Internacional de Cinema / São Paulo International Film Festival 2020, Brazil
Mostra de Valencia 2020, Spain
Semana Saco 2020, Spain
Abycine Festival de Cine 2020, Spain
MIDBO - Muestra Internacional Documental De Bogotá 2020, Colombia
​Cormorán Film Fest 2020, Spain
Festival Internacional de Cinema de Lleida Visual Art 2020, Spain - Jury Award
New Horizons International Film Festival 2020, Poland
Thessaloniki International Film Festival 2020, Greece
Ostrava Kamera Oko - Twilight Cinema 2020, Czech Republic
Antofacine - Festival Internacional de Cine 2020, Chile
Porto/Post/Doc 2020, Portugal
Festival Internacional de Cine de Iquique 2020, Chile - Best Feature Film (Young Jury)
Mar del Plata International Film Festival 2020, Argentina
REC Tarragona 2020, Spain
Festival Internacional de Cine de Cali 2020, Colombia - Best Director Award
Laceno d'oro International Film Festival 2020, Italy - Jury Special Mention
Novos Cinemas - Festival Internacional de Cinema de Pontevedra 2020, Spain
Capri Hollywood Festival 2020, Italy
Transcinema Festival Internacional de Cine 2021, Perù
IFFI Goa - International Film Festival of India 2021 
Sanfici - Festival Internacional de Cine Independiente 2021, Colombia
Monsters - Taranto Horror Film Festival 2021, Italy
Filmfest Bremen 2021, Germany -  Best Visual Innovation Award
Cinema Parallels 2021, Bosnia and Herzegovina
Santiago del Estero Film Festival 2021, Argentina
Frontera Sur, Festival Internacional De Cine De No Ficción 2021, Chile
Durban International Film Festival 2021, South Africa
Marienbad Film Festival 2021, Czech Republic
MDOC - Melgaço International Documentary Film Festival 2021, Portugal - Jury Special Mention
Lucania Film Festival 2021, Italy - Best Film Award, Best Direction Award, Best Cinematography Award
Apricot Tree Ujan International Film Festival 2021, Armenia
Mediterranean Film Festival 2021, Bosnia and Herzegovina
Kino Otok – Isola Cinema International Film Festival 2021, Slovenia
Nevada City Film Festival 2021, USA
San Francisco Latino Film Festival 2021, USA
Festival Internacional de Cine de La Serena 2021, Chile - Special Jury Prize
Ravenna Nightmare Film Festival 2021, Italy
Cinequest Film Festival 2021, USA
Istanbul International Experimental Film Festival 2021, Turkey
FECIR - Festival Internacional de Cine Rengo 2021, Chile - Best International Feature Film Award, Best Cinematography Award
Festival Film Dokumenter 2021, Indonesia
Babel Film Festival 2021, Italy - Jury Special Mention
Spirit of Fire Film Festival 2022, Russia
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Seoul International Alt Cinema & Media Festival 2022, South Korea
Festival Internacional de Cine Contemporáneo Cámara Lúcida 2022, Ecuador
Bolzano Film Festival 2023, Italy

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Director's Statement
Red Moon Tide delves into the Galicia of the sea, encompassing it in its physical and imaginary dimensions, where reality and legend merge and where the sea and death intertwine with all their mythical, evocative power. We thus go deeper into the universe portrayed in my previous film, Costa da Morte. 

In Red Moon Tide, the true story of Rubio de Camelle, a diver who rescued the bodies of more than forty shipwrecked people lost at sea, interweaves with the beings that inhabit the Galician fantastic imaginary. A mythical universe that follows in the wake of authors such as the painter Urbano Lugrís or the writer Álvaro Cunqueiro, who penned a sentence that had a strong influence on the film: ‘The ocean is an animal that breathes twice a day.’
 
We move across a limbo in the film: between life and death, between the imaginary and the real. And it is that frontier aspect that I was interested in retrieving from the archetypal figures of the witch or the Holy Company. Figures that dwell between both universes: they communicate with the dead or guide to the space of death. 
 
‘Here, the dead don’t leave: they stay with us,’ some people told us in the interviews we conducted to prepare the film. A prominent aspect of the Galician identity, as was thoroughly analysed by the anthropologist Lisón Tolosana in the 1960s, has been this strong coexistence between the living and the dead. Which was not always experienced with fear but, very often, with the feeling of what is already assumed as natural. 
 
I feel that the idea of a beyond arises from two essential needs: to keep the dead person close to you (for them not to disappear) and to shape the uncertainty after death (for there to be something). Legends and beliefs emerge to fill those voids, those uncertain spaces generated by death. From this perspective of the genealogy of legends as narratives that seek to give an answer to the unexplainable, we have created here a story around two mysterious events: the cosmic phenomenon of the red moon and the disappearance of the bodies of shipwrecked people in this sea-cemetery. 
 
A fundamental aspect on which I wanted to reflect is the process of mourning, which cannot be brought to a close as a result of the disappearance of the body, or which may be extended owing to the presence of the phantom. The importance of the existence of a farewell, one last communication with the dead person, to close circles. In Red Moon Tide, we witness a village’s process of mourning for the disappearance of a local at sea. 
 
In the village where our story unfolds, everybody is paralysed, lost deep in their own minds. Just as in Millet’s painting The Angelus, which was an important reference for the film, the people are not artificially still but their immobility seems to result from a moment of devotion and meditation or even mourning. It is around this introspective stillness that we have articulated the language of the film. A narrative form that allows us to explore the malleable nature of time, moving from its flow in nature to a temporary suspension caused by introspection, or to the mythical (timeless) time of legends. 
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