Press Release from Rosetta:
This is a film about a journey, Laura’s in search of her sister, Sara, who collaborates with an NGO, and after being reported missing, for two years without news about his whereabouts, suddenly is identified in a photo and that allows us to hope that she’s still alive deep inside one of the most remote regions of Congo, in the heart of Africa, or what is the same, in the heart of horror. It is so traumatic that the approach made by the composer, Julio de la Rosa, is based more on an interior point of view than on what could be derived from the pure description, either of the awesome equatorial landscape or of the action that takes place in it. That’s why the music is so hypnotic, to which the electronic contributes, and without being emphatic get the attention of the public, sometimes being thrilling, other times dark, and other times disturbing. Nevertheless, always measured and concise, de la Rosa doesn’t disclaim offering an epic point in this treatment, the result of which is the incorporation of certain ethnic elements, as well as a much more emotional affiliation linked mainly to the protagonist sisters but also to the different encounters and disagreements that Laura will face throughout her dangerous and initiatory journey. The score is based around the theme of Sara. Because of the connection and disagreement with her sister Laura, they share the same theme. That makes us part of this emotional vehicle that prints determination and commitment to the search of the missing relative, so necessary in turn so that history does not sink into the creepy gallery of images that the misery of the description of Hobbes’s “War of all against all” implicate. And we attend astonished as much in the cinema as does Laura herself in those exotic places. The composer emerge from his taste for minimalist detail in order to take the protagonist by the hand and enter that heart of darkness where terror lives. A journey to the end of the night in which, despite everything, there are still collaborators and NGOs that work in the field in such extreme circumstances, without give up to the anguish and extreme situations.
Julio de la Rosa faces that journey, and as he did in Group 7, The minimum Island, The Man of the Thousand Faces, and the recent tv series The Plague, his work becomes the emotional subtext, the structure of the story. Becoming the basis of what the images show in a terrifying and emotional way, achieving an esthetic implication linked to the narration. At the same time, avoid being typecast to the thriller genre to which he was linked due to his first successes. Nothing is further from reality. The same reality that terrifies us to the excess of barbarism and makes believable the existence of a possibility for human kindness and solidarity, and it keeps us away from indifference. At the exact point where the music of Julio de la Rosa is located.