In the twenty pages titled “Substance”, writer Josep Pla observes three realities—the wind, the cooking of sh and festivals—that, according to him, determine the raison d’être of his “country”. This country, whose borders are often more sentimental than physical, has Cadaques as one of its indisputable axes.

In just over half a century, Cadaques went from being a practically unreachable and, as such, unknown, shing village to having to close down the only snaking road that reaches it because in August, quite literally, it cannot hold a single person more. Its great ambassador, the painter Salvador Dalí, turned its landscape into one of the most photographed in the Mediterranean.

If a town has a replica it’s because it can. Because it deserves it. And because of the (more or less objective) fact that Cadaques, Costa Brava, and Cadaques, Zhangzhou are about as similar as an egg and a chestnut, the lm tries to put things in their place and create a space of understanding where these two, at rst unrecognizable, physical places converge through their respective images into a third virtual space, a simulacrum created to exist within the lm alone.

This third space is where the characters navigate and mirror one another: a poorly lit corner between two sets, dark limbos from which to sense something perhaps more real, deeper, or, at worst, a shipwreck.