Lo demás es ruido

One afternoon, a cellist and composer sits down for a television interview, her peers beside her. The set-up steadily becomes an echo chamber: like a chorus, the words of these hardworking, intelligent, wickedly funny women bounce off a wall of pedantic men. An intricate composition of urban noises takes shape as microtonal humour reveals new layers of family drama, progressively forming a chromatic suite. If Rosa is searching for cello sounds that can still surprise her, Nicolás Pereda performs on his set of instruments like a skilled musician while demonstrating his own penchant for spontaneity. Each cinematic parameter—sound and image, onscreen and offscreen space, light and darkness—is subjected to controlled variations, yet rigour never outweighs freshness. LO DEMÁS ES RUIDO is a work of mathematical prowess that still feels as loose as a jam session. If Tere associates her beginnings in music with the smell of salt (or a rat, or a bird), the film is a hilarious concerto in which each disparate element resonates with all the others. It is an ode to indirectness—deferred repetitions, lies, and imagined remakes—yet always remains anchored in materiality: we never stop laughing at the dog’s endless barking. (Victor Guimarães)

Nicolás Pereda: ¿DÓNDE ESTÁN SUS HISTORIAS? (2007), JUNTOS (2009), PERPETUUM MOBILE (2009), TODO, EN FIN, EL SILENCIO LO OCUPABA (2010), VERANO DE GOLIAT (2010), LOS MEJORES TEMAS (2012), MATAR EXTRAÑOS (2013), EL PALACIO (2013, K), LOS AUSENTES (2014), MINOTAURO (2015), TALES OF TWO WHO DREAMT (2016), MI PIEL, LUMINOSA (2019, K), FAUNA (2020), FLORA (2022, K), LÁZARO DE NOCHE (2024), COBRE (2025)