Take away. (2016) 

Un Burger King a las tantas de la noche. Cinco amigos con el estómago cerrado. Veintisiete Whoppers para llevar. A Burger King late at night. Five friends with a knot in their stomachs. Twenty seven Whoppers to go. — Español 14:41 min.

Dirección Jorge Cantos
Guion Roberto Martín Maiztegui / Clara Ortega Botas
Producción Azahara Ramos Truchero
Fotografía Michel Rey / Pablo Moya
Montaje Ana Bustamante / Xavi G. Pereiro
Arte Carmen Albacete
Sonido J. Lebrón / Borja Luis
Vestuario Layla Khamlichi
Maquillaje María Gordillo

Con Pedro Tamames / Nacho Sánchez / Paula Muñoz
Pablo Álvarez / Javier SesmiloJuanan Moreno

Aciertos • Mejor Cortometraje (Best Short Film)FICUNAM 2017
Festival Internacional de Cine de la Universidad Nacional Autónoma de México

26. Festival Internacional de Cine Independiente de La Plata Argentina
25. Eureka Festival Universitario de Cine Colombia
24. Vault Film Festival United Kingdom
23. Porto/Post/Doc Portugal
22. FIFE • Festival International du film de l'Etudiant Morocco
21. FICMEC • Beirut International Student Film Festival Lebanon
20. Faludi Youth Film Festival Hungary
19. Festival Golden Anteaters Poland
18. Lisbon and Estoril Film Festival Portugal
17. Carthage Film Festival Tunisia
16. Lunartis Videomedeja Festival Serbia and Montenegro
15. Seminci Spain
14. Curtocircuito Spain
13. Abycine Spain
12. Brno Sixteen Short Film Festival Czech Republic
11. 64 SSIFF • Festival de San Sebastián Spain
10. Cine Garden Conde Duque Spain
09. Festival de Cine de Lima Peru
08. Sao Paulo International Short Film Festival Brazil
07. Montefeltro Film School Festival Italy
06. 30 TAUFF • Tel Aviv International Student Film Festival Israel
05. Avilés Acción Film Festival Spain
04. Festival de Cannes  Short Film Corner France
03. Semana del Cortometraje de la Comunidad de Madrid Spain
02. Academia de las Artes y las Ciencias Cinematográficas Spain 
01. Festival de Málaga. Cine Español Spain

Revista Academia
Septiembre 2016
La enseñanza feroz de la primera película
por Jorge Cantos.

En la escuela de cine uno no aprende jamás a perderle el miedo a la incertidumbre de la película virgen; ni a sobrevivir en un medio inestable que tambalea siempre; o al Estado que da la espalda a la cultura. En cambio, uno aprende que para afrontar el reto de contar una historia debe barrer para casa, o no hay manera de hacerlo. Alguien muy querido solía repetir(me) durante estos años, que una película debe siempre dejarse arañar por la Historia —con mayúscula— y la historia —con minúscula—, de quien la filma. Que debe estar impregnada por la realidad del momento histórico que vive, y por su circunstancia particular. Así ocurre con esta película.

Take Away es el retrato de una generación que se dirige a un futuro de incertidumbre, donde se ofrecen solo herramientas deficitarias. Esa juventud española que se está haciendo adulta en un momento en el que las oportunidades tienen más que ver con las cualidades de las patatas fritas que con aquel contrato indefinido de antes. Somos la generación perdida de la comida rápida. Y en aquellos días que filmábamos, todos sentíamos el mismo miedo que los protagonistas al mirar hacia el futuro. Preguntas sin respuesta y una existencia dominada principalmente por el azar. Es un corto sobre el fin de la niñez, que respira a un ritmo inestable, existencia dominada principalmente por

el azar. Es un corto sobre el fin de la niñez, que respira a un ritmo inestable, alucinógeno, que avanza bajo una atmósfera cargada de elementos que escapan al control, con un sonido hipersensible, contaminado por el ruido del espacio y de la vida. Con un tiempo que se dilata, presa de las dudas, y da saltos circulares. Como quien se pregunta una y otra vez la misma cuestión, sin llegar nunca a dar con una respuesta satisfactoria.

La película con la que uno sale de la escuela de cine es la más difícil de rodar y se convierte pronto en la enseñanza más feroz. Es la que abre todas las puertas, pero también la que cura esa soberbia del principiante y obliga definitivamente a cuestionarlo todo. La que más provoca e impulsa a filmar y seguir aprendiendo. Uno nunca sabe en el momento de abandonar el montaje qué ocurrirá con el título. Es posible que lleve a la siguiente película, a rincones del mundo nunca antes visitados, o a festivales a todas luces inalcanzables. Nunca espera uno aparecer en el programa de ciertos sitios, acaso lo sueña. Y el que ocurra, es el tipo de cosas que ofrecen la luz y coraje suficientes para dar un par de pasos más, a pesar de esa bruma que se ha apoderado del futuro.

The New Current
Febrero 2017 (Interview)

Hello Geòrg congratulations on having your film selected for this years VAULT Film Festival in London, how did you feel when you found out?
The film has been traveling around a lot but this was it's first selection in the UK. We were very happy to hear London Calling.

Any nerves setting in ahead of a festival screening?
Each screening is a new experience, not only because of the inevitable difference in the projection itself, but because of the difference in the reception of a work depending on the audience and the country where it gets shown at.

Tell me a little bit about Take Away, what was the inspiration behind the film?
I had been working with the two scriptwriters all through film school. The summer before our graduation year, we spent a lot of time wondering what our film should move around. The first idea crossed their minds when a very loved professor of our school passed away, it happened during that summer. After a memorial service they attended, they found themselves having a snack at some fast food place and they began to mingle around the idea of mixing youth and death, and the need to feel alive through physical experiences like sex or food.

How did the film come to life?
With a sense of rush and vertigo. Rush because we had little time to write pre—produce, film and edit, and vertigo because it was the beginning of the rest of our lives.

Did you have any apprehensions about making your film before you started shooting?
Ofcourse. Probably the biggest challenge for me had to do with the casting process and the experience of directing five leading teenage actors at once. I had never been through something like that and I was concerned about being actually able to do it right.
At an early stage I wanted to do the film with non professional actors because I was in search of real-looking kids, with unique physical features, like those you see everyday in the street but not so often on screen. I wanted the characters to move and sound like the young skateboarding community does. Because of that, I spent long time getting involved with skateboarders around my area, trying to convince them to be part of the film. Utterly I gave up on that option because it wasn't coming along and it started to seem a bad idea, specially because of the acting complexity we were adding to the characters in the script. So I moved on to the acting word, and was lucky enough to find an incredible group of talented freaks. When I got them all together for the first time, each one of them looked as if they had been in front of the writers as they built the story.

What would you say was the most challenging scene for you to film?
A scene where we faced problems and I wasn't brave enough to forget what I had planed to find a different path. It stole more and more time and finally led us to a burning hell of shooting timing. You should always listen to your movie and walk its own direction, but I thought I knew better than my movie. That is suicide.

Looking back would there be anything you'd do differently?
Everything. The film was shoot exactly how I felt should be. I'm confortable with the result because every little decision was taken consciously attending to what we felt was the heart of the film, trying to be as honest as we could, but now I pretty much disagree myself throughout the whole thing. I have a huge self-criticism condition I rely on to keep moving forward. You can't fall in love with your work. Falling in love with your work leeds you to a not evolving place. Festivals force filmmakers to watch their films over and over again and defend them. It's a good position to feel in because you either grow and rethinking decisions, or die.

What has been the most valuable lesson you've taken from it?
You should always face every story with full open heart, putting everything in it. But it doesn't matter, you'll hopefully grow up and shortly end up hating every decision taken.

Have you always wanted to be a filmmaker?
As a child I loved to write stories and put up little plays for family and neighbors. I would always gather my brother and my two cousins, told them what they should do, and have people from the building come over to see us dramatize and dance. They say it was hilarious to see. I remember enjoying it, but it wasn't until my parents bought their first video camera that I found out the real fun.

What was the first film you saw that made you think “yeah I want to do this”?
My family wasn't a very cinephile one, so it's not like I suddenly found an VHS of The 400 Blows, or anything. That would had been great, but I had to wait long before facing such peak. As a child I remember watching Labyrinth, Legend and The Never Ending Story with eyes wide open. It's a cinema that has nothing to do with what I'm doing now, but these movies completely lit an attraction to filmmaking that finally came out years later. Next big movie that made me want to grab a camera was Run Lola Run, when I watched in high school. By that time I was already filming stuff, but it was a beautiful revelation.

Is it difficult hand over your film to the audience when it's completed?
It hasn't been difficult at all with this short film because we have nice people working hard on it at the distribution department of our school. For other short films out of the school safe zone, I often relay on the power of social networking. These days it's rather easy to make your content reach an audience...
YouTube, Vimeo, Facebook, etc. have built a very productive environment that wasn't there few years ago. Of course a big part of the audience you get from that social networking is friends and family, the hard part is making your films reach a bigger audience who only relate to you through your work. Shorts have a very sad existence, they can travel to many festivals around the globe and get nice prizes, but they rarely access massive audiences. In Spain we have a connection between short film and movie goers that has missed something at some point.
Cinemas would be the perfect place to extend the life of these sometimes storytelling masterpieces, but exhibitors refuse to do it, so the majority of people never get to know what new filmmakers are up to, making audiences less and less interested or involved in the country's own cinema. 

Are you working on anything at the moment that you can tell me about?
Aside from some commercial work that feeds my family, I've been working on a new story for quite a time now. It's a fiction tale about parenting overprotection, that I'm going to film with two characters inside a motorhome.

Is there any advice you would like to offer fellow filmmakers?
I don't really feel in a position to give nobody any advise, but in terms of life and cinema I try to keep in mind a sense of courage and determination to turn any disadvantages or fails into possibilities.

And finally what do you hope people will take away from your film?
The film talks about youth and courage. Spain has been going through dark times that have led a big portion of youth to pack their stuff and move somewhere abroad, in search of a real future. This youth I'm also part of, grew up in the years of goodness where it was all about growth, but by the time we became adult, possibilities and future expectations had pretty much disappeared. Right now a person between 25 and 35 is more likely to become unemployed or employed in the fast food industry, than to work in anything related to whatever we studied. We are facing harder times than our parents did, even though we are more prepared. We find ourselves in a situation where we want to do something, but we haven't got the tools, they stole them from us. It's exactly like these five teenagers. They find themselves in a harsh unknown situation and they want to do something about it, they want to play their part, but they can't do much. So, they unite as a group, embrace the options they have and dare to walk their future, regardless of the frightening grey tone it has upon. That's what I would hope somebody to TAKE AWAY from the film, a sense of courage and strength to face the absolutely unknown future.

Mayo 2016
Palmarés Málaga 2016
por Jorge Rivero

Take Away, el verdadero trallazo de la selección”.