A work in constant progress (and occasional regress).
Pulpeiro's cinema is one of displacement and estrangement. A melancholic view of the global tide dragging us in and out, both alienating and liberating the characters from whatever place they considered to be home. Born in 1990 in the village of Foz, Galicia (Spain), he spends most of his childhood moving around isolated industrial cities in Canada, Brazil, or Australia. After graduating from the Architectural Association School of Architecture in London, he settled in South America in 2015. There, he wrote and directed a series of projects of which two feature-length documentaries stand out. Nocturno: Ghosts of the Sea in Port (72', 2017), developed within DocLisboa's ARCHÉ workshop, premieres competing at Gijón's FICX and Edinburgh's EIFF. Filmed in Venezuela between 2018 and 2021, So Foul a Sky (83', 2021) has its premiere at the Next:Wave competition of the prestigious Danish festival CPH:DOX. It is awarded Best Cinematography at Saratov (Russia), nominated for Best Spanish Director at SEFF (Seville), and competes in festivals around the world. After its release in Spanish commercial theaters, it is now part of the catalog of FILMIN, Amazon Prime USA, Pluto TV, TrueStory and other streaming platforms. He is now under production of his first feature fiction project 'Petroleo'.
Additional Photography:
2021 So Foul a Sky
Director:
2017 Nocturno: Ghosts of the Sea in Port
2019 La jovencita no Envejece, se Descompone
2021 So Foul a Sky
???? Petroleo
Editor:
2017 Nocturno: Ghosts of the Sea in Port
2019 La jovencita no Envejece, se Descompone
2021 So Foul a Sky
???? Petroleo
Writer:
2017 Nocturno: Ghosts of the Sea in Port
2019 La jovencita no Envejece, se Descompone
2021 So Foul a Sky
???? Petroleo
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.