Private Project

The Foam of Days

The story of four friends, who can be accurately described by their nicknames: ‘Shiny’ (Elegant), ‘Dummy’, ‘Philo' (Philosopher), and last but not least, protected while at the same time ostracised and ‘smack’ at the middle of their friendship: ‘Nutty’, as the name suggests, is the quartet's harmless yet truly demented resident.

This frayed foursome have been best friends since childhood. They've always been there for each other, through thick and thin and always had each other's back. Their friendship has been stress tested close to breaking point four-fold. Tragedy and time has only strengthened the unusually strong bond between them: This lads are brothers. True locals of the neighbourhood of Casablanca – their patch of dreams just across the bay from Old Havana.

  • Fernando Timossi Dolinsky
    Director
    Animal tropical à Montréal
  • Fernando Timossi Dolinsky
    Writer
    Animal tropical à Montréal
  • Gabriel Beristain
    Producer
    MacGyver
  • Adriana Moya
    Producer
    Sergio & Sergei
  • Joel Ortega
    Producer
    Kamandag ni Venus
  • Sacha Rodriguez
    Producer
    Havana Kyrie
  • Frank Egusquiza
    Key Cast
    "‘Shiny’ (Elegant)"
    Cabaret
  • Lieter Ledesma
    Key Cast
    "‘Philo' (Philosopher)"
    Sombras de Azul
  • Gaston Pauls
    Key Cast
    "'Dummy'"
    Palau the Movie
  • Hugo Reyes
    Key Cast
    "‘Nutty’"
    Mañana
  • Alicia Hechavarria Vidal
    Key Cast
    "Laura"
    Ciudad en Rojo, Fabula
  • Project Title (Original Language):
    La Espuma De Los Dias
  • Project Type:
    Feature
  • Genres:
    Romance, Drama
  • Runtime:
    1 hour 48 minutes
  • Completion Date:
    July 11, 2019
  • Production Budget:
    500,000 AUD
  • Country of Origin:
    Cuba
  • Country of Filming:
    Cuba
  • Language:
    Spanish
  • Shooting Format:
    2K
  • Aspect Ratio:
    1.85:1
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Fernando Timossi Dolinsky

Fernando Timossi Dolinsky, Writer and Director of Cuban Cinema born on January 18, 1965. He began his film career in 1983 as an assistant cameraman and then as a cameraman, working mainly in documentaries and news for Granma Studios. In 1988 he changed to the area of Direction as Assistant Director in the TV documentary series "Hunting fortunes". That same year he graduated as a Bachelor of Art History, from the Faculty of Arts and Letters of the University of Havana, to continue his studies at the International Film School of San Antonio de los Baños, Cuba, graduating in 1991 at the specialty of Direction where he participates in seven productions of the EICTV. From 1991 to 1996 he works mainly as Assistant Director in six feature films in addition to founding the company Panafilms SA in partnership with another fellow graduated from EICTV, working for this as a cameraman and producer. In 1995 he directed the short film "Blue Moon" (35mm, 30 min, 1995) and began a new stage, experiencing as Director in documentaries such as "The Haitian Mirror" (45 min, 2005) and short films such as "Peanut is like this" (30 min, 2007), working professionally as Director of Photography for feature films such as "Cangamba" (Dir. Rogelio Paris, 2006) and "Sumbe" (Dir: Eduardo Moya 2010).

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Director Statement

The harbour and its nearby neighbourhoods. The geography of the hills and slopes in the neighbourhoods of Regla and Casablanca. That’s the setting. The plot deals with the repeated story of the friends from the block; those who have grown up together in any neighbourhood of Havana. It’s the gang of kids that has turned into a group of teenagers; the same teenagers who, after reaching adulthood, have closed ranks around their lives. Because it’s been easier to face it like that, because their codes have taught them so, because their friendship has remained stronger than any other.
Crossing the harbour, ̈going to Havana ̈, is like leaving their own world, like venturing into something that, when seen from the other side, from the shores of their neighbourhood, is nothing but that: lights in the distance, dreams, fantasies.
The story of these dreams is somehow the story of these characters: four friends that tragedy and humour have brought together.
The viewer must be clear that this hardened central group is the reason of being of the characters, most of which hope nothing but that: to keep the only grip they have to face whatever it may come. That’s why these very same characters may even give up the bright horizon they see across the harbour.
Mornings with a light breeze, golden afternoons. Havana is a faraway reference. The shots are always taken from the neighbourhood’s perspective towards the city. The only thing the protagonist does in Havana is to look for his missing love. He will look for it during the entire movie. He must die trying, so that another character of the group can take his place, closing ranks once more.
The film should surely be classified as a drama, but the humour and the speed of the dialogues must set the pace in the development of the story. Violence and death should surprise us the same way they surprise the protagonist.
The rest is chance meetings with other characters that tell us about a different Havana, about other repeated neighbourhoods, about the history of the country’s past few years from their viewpoint, about its most common daily inhabitants.