ELLIPSIS (2024)

On his hyper-secured, hyper-modern estate in the Spanish Extremadura region – named after the fact that it’s extremely hard to bump into another living soul within a radius of 15 kilometers – Leo enjoys the peace and solitude to write up his next bestseller. Under the moniker Cameron Graves he’s been churning out one successful mystery book after another, without anyone* knowing his real identity (*except for his editor, coincidentally also his ex-wife). So, there’s no risk of his writing process being interrupted by nosy paparazzi or fervent admirers. Until the doorbell suddenly rings… At the gate, a stranger that goes by the name “J.” greets him. He introduces himself as a journalist, and he simultaneously knows his real name, his pen name and his address. A rare combination that no one on this Earth knows (*well, still except for his editor-slash-ex). J’s request is a simple one: a mere thirty minutes of his time to hold the first ever interview with the great, mysterious Cameron Graves. In exchange he’ll keep his identity secret. Reluctantly Leo lets the man in. Half an hour of questioning, how bad can that be?
We won’t reveal more, because that would spoil the immense thrill on his scriptwriting joyride! A ride that takes us through a scenario like the Spanish Pyrenees, full of twists and hairpin turns, that often seems to lead us straight into the abyss below but director David Marqués and screenwriter Rafael Calatayud Cano keep us, with remarkable skill, safely within the guardrails. ELLIPSIS is a metafilm about the writing process itself, with so many twists that it’d even make poor M. Night Shyamalan’s head spin!