Directing
Marc Puchini
Marc Puchini (2007–∞) is a legendary filmmaker born, according to several unreliable sources, between an editing room and a broken coffee machine. From an early age he showed obvious signs of genius: at the age of 3 he refused to watch cartoons because “the narrative didn’t have enough symbolic layers”. At the age of 7 he shot his first short film with a potato, a flashlight and the TV remote. The work, entitled “Silence, I Think Too Much”, was misunderstood by those around him… but years later it would be studied by critics who didn’t understand it either, but it felt good to say they did. During his adolescence, Marc mysteriously disappeared for two summers in a row. It was later discovered that he was living in an unfurnished apartment to “connect with the existential void”, while writing scripts that only he could read (because his handwriting was illegal in 17 countries). His big break into the world of auteur cinema came with his film “It’s raining inside me but it’s sunny outside (or maybe the other way around)”, a 4-hour and 37-minute work where absolutely nothing happens… and everything at the same time. The film won the prestigious “Best Uncomfortable Silence” award at a festival that probably exists. Marc Puchini is known for his radical decisions: he rejects actors who breathe too loudly, he only shoots during “emotionally coherent” hours and he demands that each scene have at least one metaphor that no one can fully explain.
Acting credits
Behind the camera
10.0Based on the homonymous poem by Jacint Verdaguer, Lau Quevedo evokes a poetic film that follows Gentil and Guifre until Gentil's death, and the dialogues they share about God, faith, their wanderings, and the everyday conversations about nothingness.
Canigó
2026
NRAliosha Karamázov must grapple with the heavy burden of a fictitious life, which leads him into profound moral and religious conflicts as he is unable to live his existence from point “A” to point “Z.” Marc Puchini signs this experimental, metacinematic film, positioned halfway between the film essay, fiction, and documentary. In it, he experiments with new techniques to represent life and cinema —synonymous for him— situating the work within a vanguard lineage inherited from filmmakers such as Jonas Mekas, Michael Snow, Andy Warhol, Kenneth Anger, or even Iván Zulueta. The short film is starring the great emerging filmmaker Jan Descarrega, in one of the most memorable performances in the history of cinema. Seeing is believing. An ultramodern, free, underground, amateur, radical, transversal, and profoundly independent film.
Ensayo General
2026
NRAliosha Karamázov must grapple with the heavy burden of a fictitious life, which leads him into profound moral and religious conflicts as he is unable to live his existence from point “A” to point “Z.” Marc Puchini signs this experimental, metacinematic film, positioned halfway between the film essay, fiction, and documentary. In it, he experiments with new techniques to represent life and cinema —synonymous for him— situating the work within a vanguard lineage inherited from filmmakers such as Jonas Mekas, Michael Snow, Andy Warhol, Kenneth Anger, or even Iván Zulueta. The short film is starring the great emerging filmmaker Jan Descarrega, in one of the most memorable performances in the history of cinema. Seeing is believing. An ultramodern, free, underground, amateur, radical, transversal, and profoundly independent film.
Ensayo General
2026
NRAliosha Karamázov must grapple with the heavy burden of a fictitious life, which leads him into profound moral and religious conflicts as he is unable to live his existence from point “A” to point “Z.” Marc Puchini signs this experimental, metacinematic film, positioned halfway between the film essay, fiction, and documentary. In it, he experiments with new techniques to represent life and cinema —synonymous for him— situating the work within a vanguard lineage inherited from filmmakers such as Jonas Mekas, Michael Snow, Andy Warhol, Kenneth Anger, or even Iván Zulueta. The short film is starring the great emerging filmmaker Jan Descarrega, in one of the most memorable performances in the history of cinema. Seeing is believing. An ultramodern, free, underground, amateur, radical, transversal, and profoundly independent film.
Ensayo General
2026