San Sebastian – Carmen Zimenez, author of Los Javis’s “La Messias,” makes his fictional feature debut with “I Breathe Fire” (Respirando Fuego). This project is part of the ECAM Incubator, a development programme for the Madrid Film School that has become an important launchpad for the first feature of Spanish.
The film follows Berta, a 20-year-old cooking student. Their bond, built on a common passion, quickly escalates into a fierce but suffocating relationship. Over the course of five years, Berta’s praise turns into dependence and eventually violence, and she finds herself trapped in a cycle of control, shame and silence.
“When I saw a film about toxic dynamics, I realized that most of them were based on simple dichotomy: attackers/victims, black/white, male/female,” Jimenez told Variety. “I don’t think there’s any representation of the toxic dynamics of same-sex couples. When portraying queer characters, I often avoid complexity because I’m afraid to reinforce the stigma.
The director agrees that the issue lies in patriarchy, not masculinity. “I want the audience to broaden their understanding of abuse and realize that it exists far more than we want to admit. For many victims, it’s very difficult to see themselves as victims, she said.
The oat cooking acts as a background and a phor. “Auto cooking is a very tough field, and it blurs the boundaries between life and work. Its ruthless pursuit of perfection can easily turn into a form of self-abuse,” explained Jimenez. “This culture of pressure, hierarchy and ambition reflects the central relationships of films where passion becomes control and motivation for excellence falls into control.”
The director cites Todd Field’s “Tal” and Luca Guadanino’s “I Love” as important influences, citing Paweu Paulikowski’s “Cold War” and Mia Hansen Robe’s “Goodbye First Love.” “These films inspire me in a way that processes time, maintains tension and turns intimate stories into epic,” she said. Her work on “Ramesias” left Mark. “With a Los Javis process was invaluable. The ability to trust in intuition and show compassion for flawed characters is something I hope to bring into my work.”
Produced by David Gonzalez Marcelo and Tatiana Villacob at La Filmhora in Seville, I have a budget of 232 million euros ($2.7 million) and am currently seeking funding. “From the start, Carmen’s vision resonated deeply with us,” Gonzalez said. “Her approach to sensitive subjects such as abuse felt unique without fear of nuance and complexity. Putting the story in a very cinematic world like fine cuisine added an extra layer of tension and originality.”
For Villacob, the mix of film’s intimacy and universality is its strength. “I believe this film could be strong in major international festivals, especially in sections that emphasize new voices and bold stories,” she said. For Zimenez, the project is ultimately about freedom. “Berta’s journey is about redefineing success,” she said. “She has to remove external expectations and reconnect with what she really loves about cooking. By freeing herself from the ideals she has been imposed, she begins to find her own way, her own voice. I hope that films encourage her to look back on her life and ask how I spend.”
