One of the most anticipated films emerging from this year’s prestigious Incubator program at the Madrid Film School (ECAM) is “Face of Grace” (“Cara de santa”). This noteworthy project boasts a dynamic collaboration of female filmmakers, co-directed by Anna Martí Domingo and Laura Santos Martí, with production led by Mayca Sanz of Allegra Films and Laura Rubirola of Nocturna Pictures.
The film delves into a thought-provoking theme that resonates deeply with the filmmakers, originating from heartfelt discussions about an issue that has provoked unease and numerous questions.
“Many of the questions surfaced through conversations with our mothers, allowing us to reflect on their roles within society. This dialogue between our generation and women born in the 1960s significantly fueled the narrative,” articulate Domingo and Santos Martí. They emphasize that while the story is fictional, the experiences and challenges faced by these women were pivotal in shaping the film’s foundation.
“Face of Grace” tells the story of Dolores, a 63-year-old who embodies the image of a compliant teacher, devoted wife, and mother, all while conforming to societal expectations. Residing in Barcelona, her life, though stable, feels increasingly stifling—a tedious marriage, an adult son soon to make her a grandmother, and yet another Christmas away from her hometown.
On Christmas Eve, an unexpected break occurs. Provoked and overwhelmed, Dolores commits a shocking impulsive act of violence against a man in public—an event that is starkly out of character. This incident triggers a harsh response from society, wherein her mental stability and femininity face scrutiny, thus illuminating themes of societal judgment and personal awakening.
Addressing their collaborative directing approach, Domingo and Santos Martí express mutual understanding.
“We each contribute unique insights from our respective backgrounds, which align harmoniously in our directorial vision,” they state. Domingo brings experience from her previous directorial work, including her short film “Nens,” which garnered attention at Valladolid’s Seminci last year, while Santos Martí contributes her expertise in production design from acclaimed films such as “Salve María” by Mar Coll, focusing on visual storytelling and cinematography.
Although it’s their inaugural experience co-directing a feature, their professional paths have intersected in various projects. The film concept was initially nurtured during their tenure at the esteemed EICTV – International Film and Television School of Cuba.
“At that residency, we solidified our initial ideas into a coherent narrative, thanks to the invaluable support from mentors and structured sessions. The unique focus on screenwriting provided us with a robust framework that remains integral to our creative process,” they recall.
For producers Sanz and Rubirola, the film’s premise was immediately compelling. “We were captivated by the societal questions it raises and the discussions it can ignite. ‘Face of Grace’ critiques how society reacts to breaches in the fabric of coexistence, particularly when the aggressor is a woman—especially one perceived as a community cornerstone like a schoolteacher,” they reflect.
“The abrupt and inexplicable act of violence by a 63-year-old educator speaks volumes about her mental health and societal standing, while also illuminating the frustrations experienced by many women of this age, as well as how they are perceived by younger generations.”
Currently, the project benefits from development support from the Catalan Government’s ICEC in Catalonia, coupled with resources from ECAM’s Incubator. This participation has enabled their involvement in the Focus Coproduction at Cannes and EAVE marketing training.
“We also aim to secure additional production backing from ICEC, ICAA, public broadcasters, and streaming services, while seeking to collaborate with European partners to unlock Eurimages funding,” add the producers.
The film is set to commence principal photography in Barcelona, a city pivotal to the story’s ambiance. “We aspire to authentically portray Barcelona during the Christmas season, aligned with the timeline of Dolores’s journey. Our filming is anticipated to start in the winter of 2026-2027,” state Domingo and Santos Martí.
