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A heist film unlike any you've ever seen. In his second film (following his debut Finisterrae), Sergio Caballero plays fast and loose with all the laws of genre filmmaking. The ‘distance’ in the title is the ultimate MacGuffin - the term coined by Hitchcock for the thing the characters are pursuing, but which for the audience is completely meaningless. The fact that everyone communicates by telepathy enables Caballero to ‘speak’ a lingua franca made up of many different languages: from the Russian of the dwarves and the guard, to the German of the artist and the Chinese of the guard with the brazier.Read moreLess
A heist film unlike any you've ever seen. In his second film (following his debut Finisterrae), Sergio Caballero plays fast and loose with all the laws of genre filmmaking. The ‘distance’ in the title is the ultimate MacGuffin - the term coined by Hitchcock for the thing the characters are pursuing, but which for the audience is completely meaningless. The fact that everyone communicates by telepathy enables Caballero to ‘speak’ a lingua franca made up of many different languages: from the Russian of the dwarves and the guard, to the German of the artist and the Chinese of the guard with the brazier.
The story
A heist film unlike any you've ever seen. In his second film (following his debut Finisterrae), Sergio Caballero plays fast and loose with all the laws of genre filmmaking. The ‘distance’ in the title is the ultimate MacGuffin - the term coined by Hitchcock for the thing the characters are pursuing, but which for the audience is completely meaningless. The fact that everyone communicates by telepathy enables Caballero to ‘speak’ a lingua franca made up of many different languages: from the Russian of the dwarves and the guard, to the German of the artist and the Chinese of the guard with the brazier.
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- Director
- Sergio Caballero