Mirari Echávarri

On October 4th, 2007 Arantza, the director of the film, was detained and taken to prison. She remembers a few things about those days: endlessly walking around the prison exercise yard, swimming competitions, Rasha's prison journey... After 918 nights locked up, Arantza is set free. From then onwards, she recorded her memories and doubts, which are heard throughout the documentary as a kind of fragmented memoir.

During the 1980s, a convent in Lizaso (Navarra) was home to the eccentric Arco Iris community. The building's nondescript walls were adorned with enormous floral motifs, and its rooms hosted large gatherings where people experimented with cathartic New Age practices. Today, the building is inhabited by cloistered monks, and traces of that episode are almost imperceptible. The authors of San Simón 62 visit the place, drawn by the testimonies of their mothers who, trying to shake off the aftermath of Franco's regime and face the personal and political challenges of this new era, passed through the Arco Iris community.

Touch acts as a catalyst to experiment with the possibilities of approaching a Renaissance painting. Using haptic visuality as an affective strategy, the limits between subject and object blur enabling a mutual contagion. The film combines theory and lived experience in a heterodox essay crossed by author's own subjectivity, the body, affect, folklore and feminism.

During the 1980s, a convent in Lizaso (Navarra) was home to the eccentric Arco Iris community. The building's nondescript walls were adorned with enormous floral motifs, and its rooms hosted large gatherings where people experimented with cathartic New Age practices. Today, the building is inhabited by cloistered monks, and traces of that episode are almost imperceptible. The authors of San Simón 62 visit the place, drawn by the testimonies of their mothers who, trying to shake off the aftermath of Franco's regime and face the personal and political challenges of this new era, passed through the Arco Iris community.

Touch acts as a catalyst to experiment with the possibilities of approaching a Renaissance painting. Using haptic visuality as an affective strategy, the limits between subject and object blur enabling a mutual contagion. The film combines theory and lived experience in a heterodox essay crossed by author's own subjectivity, the body, affect, folklore and feminism.