Lúa Vermella Red Moon Tide A film by Lois Patiño Time seems to stand still in a village in the Galician coast. Everybody there is paralysed although we can still hear their voices: they talk about ghosts, about witches, about monsters. Three women show up, they are trying to find Rubio, a sailor that has recently disappeared in the sea.


Running time: 84 min.

Color: Color

Recording format: HD

Original language: Galician

Country of production: Spain

Production: Zeitun Films

Coproduction: Amanita Studio

Year of production: 2020

With Ana Marra, Carmen Martínez, Pilar Rodlos and Rubio De Camelle.


Director: Lois Patiño

Scriptwriter: Lois Patiño

Cinematographer: Lois Patiño

Art director: Jaione Camborda

Sound recorder: Aníbal Menchaca

Sound designer: Juan Carlos Blancas

Editing: Pablo Gil Rituerto, Óscar de Gispert y Lois Patiño

Assistant director: Adrián Orr

Producer: Felipe Lage Coro

Coproducer: Iván Patiño


Berlinale – Internationale Filmfestspiele Berlin. Forum Section (Germany)

Festival de Málaga (Spain). Best Movie ZonaZine Award

Festival Internacional de Cine de Cali (Colombia). “Luis Ospina” Award for Best Direction

New Directors/New Films (USA)

FICCI Festival Internacional de Cine de Cartagena de Indias (Colombia)

FICUNAM Festival Internacional de Cine de la Universidad Nacional Autónoma de México

IndieLisboa International Film Festival (Portugal)

Jeonju International Film Festival (South Korea)

Shanghai International Film Festival (China)

Beldocs International Documentary Film Festival (Serbia)

Curtocircuíto (Spain)

Montreal Festival du Nouveau Cinéma (Canada)

Cinespaña Toulouse (France). Violette d’Or Award for Best Film, Best Cinematography and New Filmakers Jury Special Mention

IDFA International Documentary Film Festival (Netherlands)

Vienna International Film Festival – Viennale (Austria)

Mostra Internacional de Cinema São Paulo (Brazil)

Abycine Festival Internacional de Cine de Albacete (Spain)

New Horizons International Film Festival (Poland)

Thessaloniki International Film Festival (Greece)

Ostrava Kamera Oko – Twilight Cinema (Czech Republic)

Porto/Post/Doc (Portugal)

Festival Internacional de Cine de Iquique (Chile). Best Feature Film New Jury Award

Mar del Plata International Film Festival (Argentina)

Laceno d’oro International Film Festival (Italy). Special Mention

Novos Cinemas Festival Internacional de Cinema de Pontevedra (Spain)

Transcinema Festival Internacional de Cine (Peru)

IFFI Goa International Film Festival of India

Sanfici – Festival Internacional de Cine Independiente (Colombia)

Monsters – Taranto Horror Film Festival (Italy)

Filmfest Bremen (Germany). Best Visual Innovation Award

Cinema Parallels (Bosnia and Herzegovina)

Santiago del Estero Film Festival (Argentina)

Frontera Sur, Festival Internacional De Cine De No Ficción (Chile)

Durban International Film Festival (South Africa)

Marienbad Film Festival (Czech Republic)

MDOC – Melgaço International Documentary Film Festival (Portugal). Jury Special Mention

Lucania Film Festival (Italy). Best Film Award, Best Direction Award, Best Cinematography Award

Apricot Tree Ujan International Film Festival (Armenia)

Mediterranean Film Festival (Bosnia and Herzegovina)

Kino Otok – Isola Cinema International Film Festival (Slovenia)

Nevada City Film Festival (USA)

San Francisco Latino Film Festival (USA)

Festival Internacional de Cine de La Serena (Chile). Special Jury Prize

Ravenna Nightmare Film Festival (Italy)

Cinequest Film Festival (USA)

Istanbul International Experimental Film Festival (Turkey)

FECIR – Festival Internacional de Cine Rengo (Chile). Best International Feature Film Award, Best Cinematography Award

Festival Film Dokumenter (Indonesia)

Babel Film Festival (Italy). Jury Special Mention

Spirit of Fire Film Festival (Russia)

​Seoul International Alt Cinema & Media Festival (South Korea)

Festival Internacional de Cine Contemporáneo Cámara Lúcida (Ecuador)

Director's notes

Red Moon Tide delves into the Galicia of the sea, encompassing it in its physical and imaginary dimensions, where reality and legend merge and where the sea and death intertwine with all their mythical, evocative power. We thus go deeper into the universe portrayed in my previous film, Costa da Morte.

In Red Moon Tide, the true story of Rubio de Camelle, a diver who rescued the bodies of more than forty shipwrecked people lost at sea, interweaves with the beings that inhabit the Galician fantastic imaginary. A mythical universe that follows in the wake of authors such as the painter Urbano Lugrís or the writer Álvaro Cunqueiro, who penned a sentence that had a strong influence on the film: ‘The ocean is an animal that breathes twice a day.’

We move across a limbo in the film: between life and death, between the imaginary and the real. And it is that frontier aspect that I was interested in retrieving from the archetypal figures of the witch or the Holy Company. Figures that dwell between both universes: they communicate with the dead or guide to the space of death.

Here, the dead don’t leave: they stay with us’, some people told us in the interviews we conducted to prepare the film. A prominent aspect of the Galician identity, as was thoroughly analysed by the anthropologist Lisón Tolosana in the 1960s, has been this strong coexistence between the living and the dead. Which was not always experienced with fear but, very often, with the feeling of what is already assumed as natural.

I feel that the idea of a beyond arises from two essential needs: to keep the dead person close to you (for them not to disappear) and to shape the uncertainty after death (for there to be something). Legends and beliefs emerge to fill those voids, those uncertain spaces generated by death. From this perspective of the genealogy of legends as narratives that seek to give an answer to the unexplainable, we have created here a story around two mysterious events: the cosmic phenomenon of the red moon and the disappearance of the bodies of shipwrecked people in this sea-cemetery.

A fundamental aspect on which I wanted to reflect is the process of mourning, which cannot be brought to a close as a result of the disappearance of the body, or which may be extended owing to the presence of the phantom. The importance of the existence of a farewell, one last communication with the dead person, to close circles. In Red Moon Tide, we witness a village’s process of mourning for the disappearance of a local at sea.

In the village where our story unfolds, everybody is paralysed, lost deep in their own minds. Just as in Millet’s painting The Angelus, which was an important reference for the film, the people are not artificially still but their immobility seems to result from a moment of devotion and meditation or even mourning. It is around this introspective stillness that we have articulated the language of the film. A narrative form that allows us to explore the malleable nature of time, moving from its flow in nature to a temporary suspension caused by introspection, or to the mythical (timeless) time of legends.

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