Jaume Claret Muxart

One summer, Dídac travels by bike along the Danube with his family, starting where the river first emerges in Germany. As they journey downstream, he begins seeing a mysterious boy, Alexander, who appears and disappears in the water. Dídac feels himself changing, drawn toward Alexander and away from his brother Biel. Their mother, Monika, who once took the same trip as a teenager, drifts into memories of a past summer love. When she sees Dídac and Alexander together, she encourages them to continue the journey alone. But as twilight falls, Dídac begins to question who Alexander truly is.

In Barcelona, Queralt, a painter, tries to talk by phone with her daughter Gemma, also a painter, who lives and works in a small studio in Athens.

Gina's death will force Greta and Gemma, her sisters, to get back together after a long time and to reconsider if sharing blood really means to be family.

Miguel and his uncle Kechus want to make a film about the vampire world.

A young man writes in a notebook on the riverbank as we hear a voiceover of phrases recited by his inner voice.

A weary radio host encased in her headphones, Gal·la, plays Chopin’s Concerto No. 2 in F minor, interrupted by a child in a karate uniform. After the studio she reads a story to help him sleep, though no one quite manages. Encountering a stranger, the three begin a new broadcast that beams from their room. Sound is the main preoccupation of La nostra habitació, it encloses, intrudes, draws together and sets free.

Ícar, an 18-year-old boy, writes letters from his room in Barcelona to his friend Marc and the film director Mia Hansen-Løve. Two correspondences, two types of love.