SYNOPSIS

“Bucharest” is a documentary about memory. From within a double exile, it follows the personal pursuit of Albert (a journalist born in exile in 1962) to recuperate his own roots. His father, the Spanish politician Jordi Solé Tura, who became a key figure during the Spanish Transition, was obliged to go into exile toward the end of the 1950s for his militant anti-Franco beliefs. Now, after living a life replete with passionate personal and political experiences, Jordi has begun to enter a new, internal exile, this time with no possibility of returning: a fight against Alzheimer’s Disease. Every day, his memory slips further away.With this film, Albert will resurrect the memory not only of his father’s atypical life, but also that of other historical Spanish figures such as Santiago Carrillo, Felipe González, Jorge Semprún and the ex-president of Catalonia Jordi Pujol, and little known episodes in the fight against Franco’s dictatorship and the Cold War. For Albert, many of these experiences are the diffuse recollections of a child. He will travel from one exile to another, trying to recompose the memory of his family, his own memory.

DIRECTOR'S COMMENTS

It is never easy to film an autobiographical documentary, especially when for so many years I have been "stealing" other people's stories for my documentary. However, I feel that my father's image is fading. Each step further in his illness, I realize that this immense capital accumulated through an intense life is being lost. I feel the frustration of not being able to capture memories, not being able to tell my little daughter and future generations the richness and complexity surrounding the lives of a generation of idealists. Moreover, there are a thousand questions about my own history that are left unanswered, some of which affect the History with a capital, others are strictly personal.There is one fact about this book that I found very significant: the manuscript of this novel was burned and Bulgakov had to rewrite it by rote. I thought that if a writer could write a novel by rote, perhaps a director of photography could do the same, shooting from his memory. I set out to advance the story with an unusual question at least: could Gabor rejoin the team for a film project? In addition to being someone with a great cinematographic memory and expertise, I suspected that if we could find a way to integrate it into our team, if I could open that door, I would find a lot of energy and love for work, able to inspire us all. And there it was. With the difference that it was us who joined in his team. At that time, the challenge of the day of shooting was very satisfying and I intimateling: all of the team stopped seeing Gabor as a blind man and passed to accept him as a collaborator, someone valuable to advance in this field, unknown to all but to him. It was a very special day for everyone. As Gabor said, re-shoot was "like being at home ... better than being at home. "