FORMAT: 21:9 anamorphic widescreen, every composition designed for the wide frame. · GENRE AND TONE: LA FERIA, an EXPERIMENTAL black-and-white visual short film in the tradition of the great Spanish street photographers of the 1950s and 60s and of poetic cinema (Víctor Erice, Sergei Parajanov, Chris Marker). There is no plot to explain: it is a sequence of strong, strange, beautiful images with one quiet idea, one visual rhyme and a final image that surprises. · CONCEPT: dawn after the village feria in Andalusia: everything is ending. A young woman in a polka-dot flamenco dress sleeps in the back of a horse cart as an old man leads it home along the dusty road. Images of the end of a party: lanterns coming down, a lost shoe, the horse's eye, polka dots, dust. The visual rhyme: the flower in her hair falls onto the road, and the last image is the empty road full of flowers that fell from every cart. · REFERENCE: is the film poster: it defines ONLY the look, the world and the people. IGNORE ALL THE TEXT AND TYPOGRAPHY OF THE POSTER. It does NOT define the framing: this film is in 21:9. · HARD RULES, for every shot: 1. BLACK AND WHITE ONLY, Kodak Tri-X 400 film look, heavy grain, hard contrast, deep crushed blacks and bright whites; if any colour appears, the shot has failed. 2. NO TEXT, NO LETTERS anywhere. 3. Every shot is a radical, original composition, never centred, never symmetrical, never a postcard: ultra-wide lenses very close to faces and objects, extreme low or high angles, frames inside frames (doorways, mirrors, windows) with half of the image in pure black, tilted horizons. 4. Every shot has deep layers: something very close and huge in the foreground, the subject in the middle, a world behind. 5. Light is hard and graphic: blades of sun, stripes through shutters, silhouettes, faces half in darkness. 6. The people are real and unposed, caught in the middle of what they do, never posing, never looking into the lens, every one moving in their own way. 7. Each shot holds and breathes; slow, minimal, precise camera movement; hard cuts. · SHOT 1 (0.0 - 3.5 s): Ultra-wide, the lens almost touching her: the face of the young woman asleep against the wooden side of the cart fills the bottom left of the frame, mouth open, the flower in her hair; behind her, small and sharp, the old man leading the horse along the dusty road under a white sky. · SHOT 2 (3.5 - 7.0 s): Low angle from the dust of the road, a huge wooden cart wheel turning in the foreground, cut by the frame: the cart passes, the horse's legs, the old man's boots. · SHOT 3 (7.0 - 10.5 s): Extreme close-up of the horse's eye, with lashes, reflecting the bright morning road and the tiny shape of the cart. · SHOT 4 (10.5 - 14.0 s): Through the skeleton of a dismantled feria booth, its bare wooden poles making black lines across the frame: men take down strings of paper lanterns against the white sky; the lanterns fall slowly. · SHOT 5 (14.0 - 17.5 s): Top shot, straight down: one abandoned flamenco shoe lying in the dust, the shadow of the passing cart sliding over it. · SHOT 6 (17.5 - 21.5 s): Tilted close-up from the side of the cart, the polka-dot ruffles of her dress filling the foreground, bouncing with the road: beyond them, the old man walks without looking back. · SHOT 7 (21.5 - 25.5 s): Macro on the road: the flower slips from her hair and falls into the dust; the wheel passes beside it. · SHOT 8 (25.5 - 30.0 s): Extreme wide, low, from the middle of the road: the cart small and far away on the horizon, and the whole dusty road in front of the lens covered with fallen flowers from all the carts of the night. Hold. · AUDIO: SILENT. No audio at all. · DO NOT: no colour, no text, no music, no centred frontal shots, no symmetry, no posing, no smiling into the lens, no modern objects.