SYNOPSIS:

The afterlife isn’t an escape - it’s a system. At Serenity Springs, souls are promised luxury before their inevitable reincarnation. There is no choice. No second chances. Just an endless cycle of return.

Oscar, a quiet, reluctant soul, wants to find a way out but feels trapped—until he meets Ada, a sharp-witted woman searching for the sister she lost. Her refusal to accept their endless reincarnation situation sparks something in him, and together they begin to unravel the cracks beneath Serenity Springs’ polished facade.

Their search leads them beyond the resort, to a hidden refuge where souls are given a choice. But as they go deeper, the more dangerous their journey becomes.

With time running out and the system closing in, Oscar and Ada must confront an impossible question: Can fate be rewritten, or are they just another story trapped in an endless loop?

TONE:

The tone of the film is a razor-sharp blend of dark absurdism, satire and deadpan humour balanced with the intoxicating decadence of the environment. It crafts an atmosphere that is both eerily composed and unpredictably volatile, where every interaction feels slightly off, simmering with suppressed tension. The use of awkward silences, hyper-controlled framing, and sudden bursts of unsettling intimacy heighten that discomfort, making even the most mundane exchanges feel uneasy. It’s a world that appears structured and pristine on the surface but rots beneath—a tonal dance between seductive allure and impending doom.

VISUAL STYLE:

The tone of the film is crafted to be both seductive and unsettling, drawing viewers into a luxurious and inviting world that conceals an undercurrent of discomfort and tension. This aesthetic reflects the dark themes underpinning the characters’ journey, with each visual element reinforcing the psychological complexity of the narrative. The color palette leans into rich, moody tones—deep blues, emerald greens, and blood reds—that amplify the contrast between Serenity Springs and New Dawn Camp, visually tracking the characters' evolution.

At Serenity Springs, the cinematography creates a subtle claustrophobia through tight framing and lingering shots, while New Dawn Camp is captured with wider, freer compositions, suggesting openness and possibility. Camera movements are restrained, heightening tension with minimal motion. To capture the balance between the sinister and the hopeful, colors are used strategically across lighting, styling, and set design, also mirroring each character's internal arc and emotional complexity.

THE TEAM

Alex Garcia Mallarini
Director/Screenwriter

Alex is an American/Uruguayan director born in 1989. His last film ‘The Female Side Effect’ had its premiere in Mallorca International Film Festival in 2023. The film ended with 9 total festival selections taking 7 awards – 3 of those for Best Director and 2 for Best Short. He began his career as an Art Director working for various New York City advertising agencies, but then transitioned to film when he directed his first short ‘A Travelers Guide to Happiness’ gaining 13 festival selections and winning best Director at the Amsterdam Bridge fest. 

Sergi Carmona Hoyos
Producer

Sergi is a Spanish producer from Costa Brava born in 1996, with studies in engineering and cost control for film industry at ESCAC. He has produced films with both national and international directors, some of his works include: "Chop, Chop, Chop” by director Dembó Diaby, shortfilm for Venice Biennale of Architecture also screened at Cairo’s Off-Biennale and Copenhagen’s Architecture film festival. “Pez Al Agua” shortfilm directed by multi-award winning director Candida Massielle Asencio , currently under distribution. Two-series of documentaries for Spanish TV for the contemporary art festival “Manifesta”, both directed by Santi Trullenque.

Lara Vilanova
Cinematographer

Lara is a Catalan Director of Photography and colourist born in 1983. Currently she is Vice President of the Asociacion Española de Directoras y Directores de Fotografía (AEC). She served as Jury President of the Documentary Features Section in 2024 at the Camerimage Festival. In 2018 her work is featured in Berlinale Panorama with ‘Thirty Souls’ by Director Diana Toucedo. In 2017, her work is shown in Cannes Film Festival with “The beauty and the dogs” by Kaouther Ben Hania. Lara has taken awards in Cinespana in Toulouse for Best Cinematography and was nominated for awards in Fenix and a golden from in the Camerimage. 

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The BEARDED TOOTH team