It tells the story of Dr. Oriol Roig, a forty-year-old gynecologist who decides to confine himself during the spring of 2020 with his two daughters and his best friend, Abril, in the mountain house inherited from his late wife, Ruth —a great mountaineer— who died two years earlier in a mountain accident. The unfinished issues of grief will return during these claustrophobic days of extreme situation, especially when his three-year-old daughter begins to say that she talks to Ruth at night. Based on the writing of an intimate psychological thriller, and from a vitalist point of view, the fiction explores several taboo themes, such as death and mourning, focusing on the doubt of how to move orward when life is cut short by a traumatic event. On the other hand, it also aims to show the passion for the mountains of female mountaineers, a tradition that has had much less visibility than that of their peers.

A novel that revolves around the pressure that many women feel because of what is expected of them as women. Ona has decided not to have children. But suddenly her entire life that she seemed to have under control collapses when she finds herself becoming the stepmother of her partner’s daughter.
She is determined to make sure that her own life does not follow the same path as that of her grandmother and mother, who chose to give up their own lives to become mothers. In the family farmhouse in Pallars, Ona will find refuge in order to decide where she wants to direct her future, because only her has the answers that she has always sought in others.

The essay delves into the relationships between mind and film writing, through a neuroscientific perspective particularly focused on cognitive psychology and narratology. Based on a selection of films by filmmakers from the late 20th and early 21st centuries of North American indie cinema (Tarantino, Jonze, Lynch, Linklater, González Iñárritu, Nolan …) and delving into the subversion of the construction of their stories, we will discover new devices of film writing to continue to capture the viewer. Through the journey through these films and the paths of the human mind, the book not only addresses the basic elements that a film script needs to connect with its audience, but also how the essential characteristics of classic cinema have survived under these less-than-classical-looking films, being, after all, a perfect compendium of the way we, humans, exceptional storytelling animals, feel, experience and understand the world.

A story of friendships, love and intermediate feelings, of a generation that grew up with Telecogresca and Geofarra, in student flats they were never swept, that went on Erasmus without mobile phones, that danced in the Zeleste hall, the Enfants and Plataforma after drinking beers on the terraces of Barcelona, and that spent the very long university summers between the Ciutadella festivals for Sant Joan, those of Gràcia and those of La Mercè. Written in central Catalan and Mallorcan, and from the point of view of a Barcelona girl and a Mallorcan boy, “Surt el sol i enca plou” shows the passage of time in a dual and emotional way, and narrates the adventures of characters who try to reach thirty with dignity.

Some of the most intense stories are set in hospitals. “It’s the same old Magda again, the one who pretends that everything is fine and that things are under control. But Jan feels sorry that he can’t be with the other Magda, the one he likes, the one who is sad, the weak one, the one who hides something terrible that he can’t put into words. He sighs and while he goes to get two beers he says: “Being the son of a great doctor is a big mess.”

Magda moves to Barcelona to finish her MIR; she needed a change, and the best thing was to leave everything behind. In the new hospital she meets a group of young people who also want to be doctors and, like her, have their own secrets. The most intense stories are lived in hospitals. A novel full of tension and emotions not suitable for the faint of heart.