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| Paris 70 Photo: London Flair |
Spanish Dani Feixas-Roka and screenwriter Nach Solis' short film, Paris 70 is a tender observation of a familial love. Jan (Alain Hernandez) cares for his mother Àngela (Luisa Gavasa) who has Alzheimer's. To ease her suffering, he chooses to tell little white lies that reach into her past.
Feixas-Roka's previous films include the 2008 horror short, Rejovenir, and the music documentaries, Liverpool Catalan (2021) and La Banda Del Pati (2024).
In conversation with Eye For Film, Feixas-Roka discussed the unique peculiarities of the short and feature formats, asking whether he was capable of directing fiction, and being attentive to the audience's response.
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| Paris 70 Photo: London Flair |
Paul Risker: How would you describe your relationship to cinema?
Dani Feixas-Roka: My relationship with cinema began when I was very young. I was a huge fan of watching movies on VHS and would spend hours at the video store looking at the covers before renting a film. As a child, cinema was magical to me. Now, it has also become a way of living, thinking, and expressing myself. At 18, I started creating short films with my friends. Later, I worked as an editor and cameraman for various production companies, which allowed me to make a living in the audiovisual field for the past 25 years. I have created music videos, documentaries, and commercials, but my true passion is fiction. Currently, I am working on my first feature film and thoroughly enjoying the journey.
PR: 'What we are' versus 'who we feel we are' can often be out of synch. I've spoken with directors who say that it took a number of films before they felt they could call themselves a filmmaker. Do you feel that you can call yourself a filmmaker?
DFR: I understand what you're saying... it could also apply to calling yourself an artist. Both the words 'filmmaker' and 'artist' sound very significant. On one hand, I believe that you have to see yourself as a filmmaker to become one. It's important to have confidence in yourself, because it's not an easy job. On the other hand, I think these labels aren't crucial for the creative process. Personally, all that matters to me is being able to keep working on what I love and receiving great scripts to direct. I don't care much about the labels people might give me as long as I can keep creating.
PR: How do you view Paris 70 in relation to your other films?
DFR: For me, Paris 70 has been like creating a statement of intent; putting all my previous learning into one project. Over the years, I've developed a sense of judgment, and Paris 70 was the result of making many different decisions until the short film was completed. It had been a while since I directed fiction. Recently, I worked on three documentaries and a lot of advertising. I needed to see if I was capable of directing fiction with everything I had learned.
I really enjoy the idea of discovering the story as you create it. It would be very boring if everything were written before starting the film. The instinct in directing, the actors' opinions on the story, technical and budget limitations, improvisation, and the final editing are essential elements that make a film production unique. I like to think that we can be like painters or musicians when directing because, for me, the most cinematic moments appear during these times.
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| Paris 70 Photo: London Flair |
The global success of Paris 70 has been incredible. We have won over 150 international awards and have been shortlisted for the Oscars by the American Academy in 2025. Additionally, we were nominated for the Goya Awards by the Spanish Film Academy in 2024 and the prestigious Forqué Awards, organized by EGEDA. We've participated in significant festivals such as the Heartland Film Festival, Cleveland Film Festival, Short Shorts Asia in Tokyo, and the Festival de Cine Iberoamericano de Huelva, among many others. With over 180 official selections at film festivals, this achievement is deeply fulfilling for me on a personal level, as I created this short film from scratch as both producer and director. This success has given me the confidence to continue believing in myself and has opened many doors. Nowadays, many producers ask about my next film or propose new ideas. I am thrilled to listen to all these producers, especially if their proposals align with my personal taste.
PR: I remember a filmmaker telling me a feature film is like a runaway train, while a short is like something you can hold in the palm of your hand. Would you agree, and how would you describe the difference between shorts and features?
DFR: Hahaha! That's a very accurate description. Although sometimes a short film can also feel like a runaway train. I think the main difference lies in the duration. In a short film, you can have the entire movie in your head, allowing you to control every detail more precisely.
On the other hand, a feature film is a much longer and more complex experience. It requires much more planning and coordination, as there are more characters, plots, and subplots to develop. It's like a train in motion that you can't stop, and every decision has a significant impact on the final result. Producing a feature film involves a much longer commitment from the director and a higher risk when it comes to finding the final cut. Honestly, I wouldn't recommend it to anyone - hahaha, just kidding.
Both formats have their charm and challenges, but for me, they are very different, and each has its own peculiarities. For example, making a good short film is very difficult. I've seen many short films that start with good ideas but end up failing. In a short film, you can't afford a bad scene; everything has to be like a Swiss watch, perfectly organised. In contrast, in a feature film, you often have bad or slow-paced scenes, but you have room to fix them. If you have a good ending, you can win over the audience.
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| Paris 70 Photo: London Flair |
PR: One of the interesting aspects of the film is that the distinction between a 'little white lie' and improvisation, imagination and storytelling is blurred. I mention this because I still remember being told that sometimes a lie can be kinder than telling the truth.
DFR: The concept of white lies exists in real therapy. Doctors generally do not recommend lying to Alzheimer's patients, but in some situations, where telling the truth could be painful for the patient, it may be advisable to redirect the response to a more gentle and positive place. Experts say that white lies can be therapeutic in certain cases.
I have great respect for this disease and am not in a position to say whether lying to a patient is right or wrong. However, after speaking with many people who have experienced similar situations, I have learned that each patient is unique. Each family has gone through different circumstances, and many have faced situations similar to those depicted in Paris 70.
PR: Audiences will experience Paris 70 through a particular lens, shaped by their personal experiences. For some, it will take them inside an experience, and for others, it will be a shared understanding. This is the beautiful thing about the film, which also reminds us that the audience are a filmmaker's collaborators.
DFR: Yes, I completely agree. I have found that when someone has experienced a similar situation with Alzheimer's in their own life, they empathise very deeply with our short film. They connect in an incredible way and identify with the caregiver. On the other hand, people who haven't experienced a similar situation tend to focus more on the cinematic details, such as the lighting, pacing, expressions, and the love and care within the family. This is what they highlight when discussing the short film.
I believe that often the audience tells you what your film is about, and as a director, you discover very interesting elements that you didn't realise were so important. That's the beauty of films: the audience makes them their own, and they become something greater.
PR: There's a lot of conversation about how films are becoming unnecessarily long. Paris 70 is spatially and emotionally a claustrophobic or self-contained story, and so, the short form complements the intimacy and simplicity. I think about how less can sometimes be more, but I'd be interested to hear your thoughts on how the short format complements Paris 70's story and whether we're losing the ability to embrace less is more in storytelling?
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| Paris 70 Photo: London Flair |
DFR: Personally, I like short films that are truly short. Most of the short films that have left a lasting impression on me are brief but have deep ideas that keep me thinking for days. I also appreciate simple ideas that convey much more than what is seen on the surface.
I believe Paris 70 starts with a somewhat claustrophobic feeling, but this is narratively justified. I wanted the characters to feel trapped in the house, both in terms of photography and acting, as if they were in a prison. The lighting is cold, filled with backlighting, and the atmosphere is bitter. This was intentional to contrast with the second act, where I decided to add more light, warm colors, and music that makes you feel like you're traveling and leaving the house. In reality, the viewer is traveling with Angela through Paris, Rome, New York, and Formentera. Even though we never leave the house, we are journeying outside, and I love that.
PR: How do you look back on the experience of making Paris 70 and do you find filmmaking to be a transformative experience?
DFR: For me, shooting fiction is like playing a game, and I had a lot of fun with Paris 70. Many times I've thought about how I would wake up happy to go to the set. I believe it's very important to create a good working environment and have a great team of people. It's also crucial that everyone is in sync with the story we're telling. I was lucky because in Barcelona, there are some incredible film professionals. They love their work and bring all their talent to the production.
Regarding your question, I think making films is a transformative experience because you learn many lessons that you will surely use in the future. There are so many things that can go wrong, but when you succeed, you become a different person. This experience, whether good or bad, will serve you in the future. But this doesn't mean that making a new film won't be chaotic again.
