Dad, is that you?
After a long period of isolation caused by personal experiences that left him struggling, a young man finally decides to go out partying with his friends. What begins as an attempt to return to normality is soon marked by excess and a failed encounter that pushes him back into himself.
As the night unfolds, reality begins to blur, drawing him into a disturbing journey through memories, loss, and figures from his past.
Caught between confusion and drift, he is forced to confront what he has long been trying to escape.
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Chris FerroDirector
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Chris FerroWriter
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Chris FerroProducer
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Project Title (Original Language):¿Papá, eres tú?
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Project Type:Short
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Genres:Psychological Drama, Surreal Drama
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Runtime:4 minutes 56 seconds
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Completion Date:April 14, 2026
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Production Budget:300 EUR
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Country of Origin:Spain
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Country of Filming:Spain
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Language:Spanish
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Shooting Format:Digital
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Aspect Ratio:16.9
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Film Color:Color
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First-time Filmmaker:Yes
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Student Project:No
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Digital Cinema Package:Unavailable
Chris Ferro is a Spanish filmmaker and creative director based in Vigo, Spain. His work explores memory, identity, and the emotional weight of the past, often through atmospheric and visually driven storytelling.
Before moving into narrative filmmaking, he built a strong background in digital communication and content creation. He is the creator behind HISPANAE, a history-focused project that has reached a wide audience across platforms such as YouTube, TikTok, and Instagram, where he developed a distinctive approach to visual storytelling using research, editing, and generative AI tools.
In 2025, he founded Eidolon AI Studio as a creative space to expand beyond historical content and explore new cinematic narratives and genres.
Dad, is that you? marks his first official short film, representing a transition into fiction filmmaking and a deeper exploration of intimate, psychological storytelling.
Dad, is that you? was born from a personal experience that stayed with me long after it happened.
This film represents a transition in my work — from historical storytelling into a more intimate and psychological exploration of memory, identity, and the emotional weight of the past.
I’ve always been interested in how memory works — not as something linear, but as something that lingers, distorts, and sometimes traps us. In this story, returning is not about moving forward, but about confronting something unresolved.
The narrative is intentionally minimal. Rather than explaining, I wanted to evoke a feeling — that quiet, unsettling sensation of facing something deeply familiar that no longer feels the same, or perhaps never did.
Visually, the film leans on atmosphere, light, and silence to create a sense of disorientation, allowing the audience to experience the journey from within.
Although rooted in a personal moment, the film is not about a specific event, but about a universal feeling: the impossibility of truly leaving certain things behind, and how some journeys, no matter how far we go, only take us back.