Directing
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A collective effort about the recent history of Spain. A distorting mirror, a radiography, a rotten but exquisite corpse: the blood, the sweat, the dandruff of a country in the shape of a large and extended bull skin. A parade of freaks. The ridiculous independence of the upstairs neighbor, the sovereignty demanded by an insane parrot prisoner in its open cage. Football, potato omelette, kings and safaris. Things not to do again. Guerrilla cinema. Hysteria of Spain.
A punk documentary which is, at the same time, a history of Catalonia, an analysis of its political situation in 2017, a comic lamentation on the milestones of the Procés —the broken, unsuccessful path started October 1st which eventually should've ended with a true declaration of independence from Spain—, and a chaotic festival of references to pop culture, from Dumbo to Salvador Dalí.
“If we vanished tomorrow, no organism on this planet would miss us. Nothing in nature needs us”. María Cañas meets the Anthropocene in this search-footage film starring the animals that (hopefully) will take over the world when the most harmful species (the human one) materializes its own destruction.
A "guerrilla-video" about the more hidden, surrealist face of the Sanfermines, an empowering reflection in the face of the violence inflicted above all on women and bulls.
La Cosa Nuestra is a journey to the most hidden and surreal face of the bovid-bullfighting universe. Fun and tremendous, operating in iconographic cannibalism. It is a work that shows another reading of the national holiday, demystifying it. Confronts the Spanish bullfighting culture with the visions and uses of the bull in other civilizations. This video creation immerses itself in the aesthetic, ritual and cultural universe of the world of bullfighting, rebuilding it critically, but at the same time with healthy irony.
A compiling documentary about Seville "Spain". It reflects with sarcasm some of the deepest problems and stereotypes associated to Andalusians, and depicts them as the consequences of capitalism.
Down With Reality presents a subversive reflection on the art world and gauges a very peculiar collective, one who makes of the night its field of (re)creation, the troup of nocturnal creatures who inhabit the bars, art galleries and streets, and who hide within themselves an exhibitionist spirit, which is more or less pathetic. This is a type of exhibitionism which, when we are being taped, we all take pleasure in.
This is a hacking from hell, a send it all to hell. A howl full of visual and sonorous din that questions the collective hysteria and existential madness in which technological slavery, the tyranny of social networks and job insecurity place us.
One of the first works by María Cañas, an excessive metadiscursive exercise on the “pig character” of current information and archive culture.
