Ascetic vision about a being who detests the dysfunctional social model that this society proposes and opts for the way of self-destruction. Loneliness, addiction, survival, human sacrifice and a strong ideological component, turn Roman Di Martino "Bronko" into the symbol of the new contemporary redeemer.
When I decided to write this feature film, I asked myself, what do I want to manifest? And one of the questions that bother me more about human condition is self-destruction. Specifically, the choice of it. That is, are human beings condemned to suffer? Is this an inherent factor to their condition?

This question resounded in my head during my rehabilitation process. I was an addict during a decade until I decided to find help and live sober. But I experienced self-destruction and that is why I could and wanted to talk about it. In fact, this film was born in those rooms filled with addicts like me that had chosen to stop suffering or, to be more explicit, to stop their self-destruction.

So, the theme of this film is a reflection of the self-destruction stage. But it also is a social critique and an act of deep spirituality. I wrote the first draft of this script in two weeks because, in some way, it is autobiographic and mirrors some of my experiences as an addict.

I kept doing a thorough revision of the script until I managed to reflect just what was needed and nothing else.

The curious link between self-destruction and the observation of the current social model shaped the concept that I already had.

Roman Di Martino, known as “Bronko”, marks the storyline that narrates this story.

Bronko is an actor from a rundown neighborhood in Catalonia who, thanks to his talent, has managed to get out of it and be acknowledged internationally. When he is at the peak of his career, his principles clash with the superficiality and the hypocrisy that reign in the high spheres, and he ends up hating dramatic art and all that it means.

He condemns people eager for power, that abuse of their influences, that hate, trample and humiliate each other in order to get a role in a film or theatre piece. Those miserable people that rejoice on their fame on their sumptuous and full of envy parties, as if they were above the rest of mortals. Heartless and spiritless people that tear each other apart as depredators.

Observing this social model, something breaks inside him and he no longer fits in it. He falls down into the world of addiction, specifically heroine, and decides to return to the neighborhood of his origins in order to destroy himself.

On this process, the character becomes an ideologist that contemplates society as dysfunctional, and through a manifest, proposes its destruction. The injustices he lives, the miseries that surround him, the political corruption and the extreme violence, force him to take action.

In this transgressive act, the figure of a new contemporary redeemer is revealed.