Experiencing Interruptions?

When it comes (it will have your eyes)

A small community has entered a state of collapse due to an environmental crisis and is adapting as best it can to the new reality. The privileged residents live a hedonistic life based on carpe diem, while the others struggle to survive without any other alternative. What is yet to come? If there is nothing left, can anything save us?

  • Izibene Oñederra
    Director
  • Izibene Oñederra
    Writer
  • Diego Herguera
    Producer
  • Izibene Oñederra
    Producer
  • Project Title (Original Language):
    Etorriko da (eta zure begiak izango ditu)
  • Project Type:
    Animation, Short
  • Runtime:
    12 minutes 37 seconds
  • Completion Date:
    February 20, 2024
  • Production Budget:
    90,000 EUR
  • Country of Origin:
    Spain
  • Shooting Format:
    Digital
  • Aspect Ratio:
    1.85
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • Annecy Official Selection
    Annecy
    France
    June 6, 2024
    International premiere
    Official Selection
Distribution Information
  • Sultana Films
    Distributor
    Country: Spain
    Rights: All Rights
Director Biography - Izibene Oñederra

Animated film director with a degree in Fine Arts from the University of the Basque Country. She holds an honorary doctorate from the same university and is currently an assistant professor in the painting department of the UPV-EHU. Her first animation is Hezulbeltzak, una fosa común (2007), multi-awarded in international festivals and with a very extensive tour of several years in different in-ternational festivals, theaters, film libraries and museums worldwide. His education in the world of animation is extended in workshops coordinated by Isabel Hergura at the Arteleku art center in Donostia. Workshops led by Phil Mulloy and Vera Neubauer, Raymond Krumme and Abi Feijó and Regina Pessoa among other renowned animators. During Vuk Jevremovic's workshop the collective short film Berbaoc (2008) was made. During his stay at Arteleku he made his second animated short film Hotzanak. For his own safety (2013), subsidized by the Basque Government and distributed by the Kimuak platform, like all the short films made to date. In Arteleku she curated annual conferences that aimed to make visible and reflect on the other cinema, called Cine Raro at the beginning and later Cine Mapa.
Also at that time he collaborated daily with the Basque language newspaper Berria. He also partici-pates in animation workshops at the Larrotxene culture center, and together with Isabel Herguera also in Rome and India, occasionally. Later she participates in a feature film project produced by Donostia San Sebastian European Capital and together with Isabel Herguera she makes the animation Kutxa Beltza (2016) for that project. She also participates as a director among a collective of directors, in two animation short films that are going to be coordinated from the University of the Basque Country, Beti Bezperako Koplak (2016) and Areka (2017), short films that are going to have a long trajectory in in-ternational festivals. His latest animation is Lursaguak (2019) which premiered at the Donostia-San Sebastian Festival in the Zabaltegi section.

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Director Statement

The contradictions that arise during the long days of confinement and the consequent need to maintain the complexity of the uncertain "reality" that we live in, lead us to create a fantasy world with dystopian overtones.
The narrative form is characterized by gradually showing the deteriorating reality through the worker, the character who plays the most active role. In the journey towards the abyss of the tragic character, I looked for the moments in which he crossed paths with the other characters. This crossing of characters allowed me to play with comparisons and thus build a more complex world.
Thus the characters, rather than portrayed in isolation, acquire depth as they interact with each other. The white characters on the rooftop are hedonistic and their behavior shows superiority to the one who comes to work. In creating this group of characters as cretins, I had in mind the decadent well-to-do in Lucrecia Martel's La ciénaga.
The journey of the worker may suggest that the world we are discovering is shown through temporal ellipses, so much so, that in the last scene we discover that the worker is identical to the many like him who live crowded together in the intoxicated room and live to work by relieving themselves, in an uninterrupted spiral. This idea is supported, both by the information of the graphic elements that appear in the backgrounds of some shots and by the indications coming from television screens that are turned on in different scenes.
The mass of fog becomes more and more solid and tinges the film with green as it advances, surely influenced by the color design in Alfred Hitchcock's Vertigo.
I would also like to talk about how unintentionally religious motifs have been inserted into the film. In this sense I would consider the presence of "the angel lady" who enables the birth of a being in a rather miraculous way. Thus one could consider the messianic tale as a background to the story. However, this is no more than a suggestion that is not developed in an obvious way in the animation. Another adaptation of a religious element could be found in the tragic man who carries the flagpole on his back before the gaze of idlers who trivialize his effort, creating a parallelism with Christ carrying the cross.
It should also be noted that although this is a dystopian story, some elements shown at the end of the animation project a certain margin of hope. Although, these elements are somewhat hidden and depending on the feeling of the viewer's gaze will be visible or invisible.