"La fotografía imposible" es un cortometraje basado en un fragmento de la novela de Gloria Montero (Australia-Canadá-España), Punto de fuga (2006). En la contraportada del libro se lee lo siguiente:
"Las estremecedoras experiencias de Mar Álvarez, fotógrafa de guerra formada en Canadá, nos arrastran hasta el epicentro de conflictos como los de Camboya, Irán, Timor, el Líbano o los Balcanes. El horror bélico captado por su valiente retina y su hábil cámara fotográfica la llevarán a cuestionarse la razón de su existencia, condicionada también por el amor de dos hombres que conviven en su cuerpo y su corazón, el enigmático periodista croata Nik Tesla y su propio padre, el gran fotógrafo antifranquista Juan Álvarez. Punto de fuga no es solo una novela sobre la guerra, sino también sobre el combate contra el horror, sobre la intensa búsqueda de una fotografía aparentemente imposible: la del despertar de las conciencias, la de la sensatez humana, la de la paz".
Guerra de los Balcanes / the Balkans War, 1994. Créditos: Gervasio Sánchez
'The Impossible Photograph' is a short film based on a fragment from Punto de fuga [Vanishing Point] (2006), a novel by Gloria Montero (Australia-Canada-Spain). On the backcover of the book, the following can be read:
'The heart-rending experiences of Mar Álvarez, war photographer educated in Canada, drag us to the epicentre of conflicts as the ones in Cambodia, Iran, Timor, Lebanon or the Balkans. The horror of war captured by her brave retina and her skilful photo camera, will lead her to question the meaning of existence, also conditioned by the love of two men that coexist in her body and heart: the enigmatic Croatian journalist, Nik Tesla, and her own father, the great anti-Franco photographer, Juan Álvarez. Punto de fuga is not only a novel about war, it's also about the battle against horror, about the intense pursuit of a photograph that seems impossible: a photo of the awakening of consciousness, of human sense, of peace.'
'When I lived in Canada, I did a weekly television show of interviews and once we had on two photographers, and we started to talk about the morality of photography. The discussion was, ‘Is a photographer justified in being just like a voyeur or is the photographer always, as a human being, a part of what is going on?’ I’d never thought of that particular question, but it stayed with me. I always think that you write about things that you can’t make go away.' Interview with Gloria Montero.