The King of The Air

Pere is saved from suicide by Rosario and regains the will to live. However, Rosario is in love with Celeste, her financial dominatrix, who has pulled away, believing that romantic feelings have no place in such a relationship. Pere will try to take Celeste’s place in Rosario’s life, despite not understanding how anyone can find pleasure in suffering.

“The King of the Air” is a company of inflatable attractions that looks like a Disneyland for the poor. It’s also the nickname of Pere (63), not just because he runs the place, but because of his drug addiction. Trapped in depression, Pere writes a farewell note and plans his end: on a windy day, he climbs onto an inflatable, ready to fly away – but Rosario saves him, without even realising it. Pere then falls in love with her and rediscovers his will to live.
But Rosario is in love with Celeste, her financial dominatrix, who wields power and control through money. Celeste has distanced herself, convinced that feelings have no place in such a relationship. Pere, unable to understand how someone could find pleasure in suffering, tries to take Celeste’s place in Rosario’s life – unaware that this time, he will end up turning into air.

Director's note

When I experienced anxiety and depression some years ago, I realised that death is not necessarily something bad. Pain is the real horror. Additionally, a news article caught my attention: Spain is said to be the country with the highest consumption of tranquillisers. I want to explore this concern using fantasy as a lens, since anxiety and depression are states exacerbated by our socio-economic system. How do we manage pleasure, suffering and time in our contemporary society?
“The King of the Air” is an opportunity to subvert age, social class, and gender roles in the portrayal of its characters. The project also stands out for its sonic and visual potential, as spaces related to the world of the air serve as a poetic translation of the characters’ moods. The wind influences the characters’ spirits so intensely that it propels them through time. I envision a non-linear narrative structure because anxiety and depression are altered states of temporality: depression is an excess of the past, and anxiety, an excess of the future. The aim is to tell an existential, emotionally charged story that shifts between melodrama – drawing on the familiar appeal of a love triangle – and comedy, which is essential to create a serious story.

Screenwiter's note

Subjects:
love, mental health, grief, humour