MOSS

I believe it is important, especially in the current moment, with so many wars happening in various places around the world, that we explain to girls and boys what war is and what we can lose, in order to help raise awareness and encourage the pursuit of peace and a more just world.

This has always been a constant very important to me in my cinema. Reflecting through such a powerful tool as audiovisual media on the present, the past, injustices, and helping to develop more critical minds. As a spectator, it is also what interests me the most.

When I was offered to direct MOLSA, I was motivated for two reasons. First, because it addressed this concern that I strive to carry in all of my films. And this time, it was directed at children, our future. Second, because of the excitement of the new challenge of exploring a new language, such as animation. The freedom that animation gives you as a medium is difficult to find in fiction.

Anything is possible in animation. These were some of the first phrases I heard from the amazing team of MOLSA, and they felt very inspiring. And after the collaborative work done by everyone, I realise that it is true. In animation, not only can you tell a story just as well as in live-action, but you also have a freedom that allows you to explore very interesting corners of creativity. Seeing the enthusiasm that our story sparks wherever it goes, and the emotion it evokes, I believe we have a great film in our hands.

Judith Colell (b. 1968, Sant Cugat del Valles) is a Spanish filmmaker known for her emotionally resonant, socially conscious cinema, often centered on women's experiences. After studying Art History in Barcelona and film at Columbia University, she developed a style marked by intimacy, restraint, and psychological depth.

Her debut film Dones (2000) set the tone for her career, followed by 53 dias de invierno (2006), which garnered critical acclaim for its subtle storytelling. Elisa K (2010), co-directed with Jordi Cadena, earned several awards for its innovative structure and sensitive handling of childhood trauma.

Colell's later works, such as L'ultim ball de Carmen Amaya (2014) and 15 horas (2021), continued to explore complex themes like gender violence, winning further recognition. Beyond filmmaking, she plays a key role in the Spanish and Catalan film industries, currently serving as president of the Catalan Film Academy and teaching at Universitat Ramon Llull, where she earned a Ph.D. in Communication. Her recent film Frontera (2024) deals with historical resistance during WWII, and Moss, her first animated feature, marks a bold new creative chapter.