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How I Made It: Non-Living (2021)

Alex and Natalia reside in an isolated rural house. They have achieved worldwide success as authors of children's stories, but everything falls apart for them when they lose Jonah, their only son. Five weeks after the afternoon when the child's condition worsened and they left the house in a stampede, they return home for the first time, with different purposes: Natalia, packing the basics and moving on on their own; Alex, trying to convince her to reconsider her decision. The discovery of a message from Jonah, inviting them to embark on a treasure hunt game, upsets their plans and tests their nerves.



87 Mins | English | Horror, Drama | 2021 | Spain


In its persistent mission and zeal to promote good cinema, the Indian Film Institute brings you the experience of the Director of the film - Agustín Rubio



Why this subject matter for your film?

There is no matter more universal than death, and the mourning of parents for their child constitutes one of the greatest fears, or enigmas, for every human being. How to overcome it? Is this possible to do? Is it as simple as "looking ahead", or do you have to do some kind of exercise, of exorcism? As someone raised in a Catholic culture, I am obsessed with guilt, and it strikes me as one of the richest items to play with, especially in the horror genre.


Where did you find the story for this film?

The story is the result of thinking a lot about how to make a film with as few elements as possible (two adult actors and a child, and a house), to lighten the production and thus guarantee that I could carry it out by myself -and my producer. There is a very topical element in the film, almost a MacGuffin, that I can not mention because it would spoil a surprise twist, but that makes the film, which was shot in June 2019, anticipated some of the ramifications of the pandemic that we are facing right now. In this regard, I was inspired by the observation of the reality that surrounds me: as a creator, I am convinced that you must have the radar permanently in operation to capture the air of the times, not in an opportunistic way. I read the press daily -I never spend less than an hour reading the newspaper. I think that leaves a residue that, even if unconsciously, ends up emerging when imagining stories.




What were the challenges you faced in making the film?

Shooting the movie was as difficult as it was fun. It is based on very long shots of up to fourteen minutes, in which the two protagonists (and, in some shots, also their son) walked the house from top to bottom. We had a tight filming schedule of ten days and a very limited budget, so we had to get a shot every day. We couldn't fail. So it was an ongoing challenge and a constant source of learning, both from a technical and disciplinary point of view.


Did you face any problems in releasing the film?

We continue to face them! Right now, we are doing the festivals route, and we are doing quite well. At the same time, we continue to negotiate the distribution in different territories. We have high expectations and we ar