‘Olivia and the Invisible Earthquake’ Director Irene Iborra on Helping Kids Understand Big Feelings and Life Changes in a ‘Luminous, Gentle Way’

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With the 2025 Annecy International Animation Film Festival just around the corner, I can hardly contain my excitement for the world debut of “Olivia and the Invisible Earthquake,” a heartwarming stop-motion masterpiece by Spanish director Irene Iborra. Last year, it won over audiences at the French festival with its Work in Progress presentation, and now, I’m eagerly awaiting its full reveal.

Based on Maite Carranza’s novel “Life is a Film,” the groundbreaking stop-motion film – the first from Catalonia – centers around 12-year-old Olivia. After her family is forced to leave their home, she persuades her younger brother that their struggles are actually scenes in a movie they are starring in. This creative way of dealing with difficulties paves the way for a moving drama that delves into the topics of resilience, unity, and the strength of storytelling as a tool against adversity.

In her directorial debut, Iborra artfully infuses a homemade charm into the movie, employing moving animated elements to construct a tangible and emotionally profound environment. The film has garnered acclaim for its compassionate representation of intricate societal problems, like homelessness and parental melancholy, thereby appealing to both young and old audiences.

Prior to its premiere at Annecy, EbMaster had an engaging conversation with Iborra about the creative process behind “Olivia and the Invisible Earthquake”, the challenges of creating a stop-motion feature in Spain, and how animation can tackle real-world problems.

EbMaster: Did you realize you were making the first stop-motion feature film in Catalonia?

Irene Iborra: To be honest, I wasn’t aware that our film was the first feature-length movie in Catalonia until we had already started pre-production. What truly mattered to me was the story and how best to tell it using stop-motion animation due to the rich textures and poetic quality this technique provides, which is not common in other methods. It wasn’t until later that I realized this hadn’t been attempted here before. However, we had a community of filmmakers already; I teach in a master’s program that has been running for 10 years. So, many people were already creating short stop-motion films. This project felt like the natural next step in our evolution.

In what manner did you create the characters and settings for the movie, given that it’s deeply rooted in Barcelona while dealing with broader themes such as the housing problem?

We aimed to approach challenging themes with a radiant and tender touch, ensuring the visuals were pleasing to the eye. The characters were crafted by Morgan Navarro, a renowned French comic artist, who gave them a stylized appearance. Despite their abstract faces, the use of realistic textures for their clothing makes them relatable. For instance, we utilized wool for their hair, a texture I had previously used in my short films. Additionally, we purposefully steered clear of the conventional round shapes often found in children’s animation. Instead, we opted for more distinct lines, particularly in the noses, to differentiate ourselves while maintaining an appealing look.

In this production, the sets are extraordinarily lifelike, even incorporating authentic graffiti seen throughout Barcelona. I joined forces with Morgan to snap photos of the city’s vibrant streets, and the design team wonderfully recreated those images. The balance between stylish puppets and genuine settings creates an ongoing sense of both immersion within the narrative and recognition that it’s an artificially constructed world. Furthermore, the characters are more intensely colored than their surroundings, a deliberate choice to emphasize our notion that people significantly mold the spaces they inhabit.

As a passionate cinephile, I’m deeply moved by the powerful representation of Olivia’s anxiety in this film. Can you share some insights into what inspired you to delve so deeply into her inner realm?

In this creation, I’ve ventured beyond conventional limits. Topics such as a mother’s sickness and Olivia’s anxiety are challenging for children, so when she tumbles into darkness, her journey leads to a tranquil, inner sanctuary instead. The tension of the fall is offset by soft lighting and a comforting aesthetic as she descends. These choices were collaboratively made with the cinematographer, employing light to subtly transform the environment into a progressively calmer place.

In the realm of stop-motion films, mental health is often explored, making its presence in this particular production feel familiar to me. I found it intriguing that Olivia’s narrative portrayed fear as a force propelling us into introspection, a realm filled with symbolic representations such as the whale or furniture. This is where potential resolutions could be found. We had many discussions about the sound design; our aim was to avoid causing fright in young viewers. I hope I didn’t push boundaries too much, but we’ll see which age group resonates most with it. Although my little brother is seven, the film might be more appropriate for children aged eight and above.

Since the movie is both a family-oriented production and tackles societal issues, what strategies will you employ during distribution?

This movie has always been perceived as a cinematic masterpiece for kids. It’s an exciting journey filled with fun, emotion, and even some heart-wrenching moments. Our distribution partners include Pyramide internationally, Filmax for Spain, and they have strong backing from broadcasters like Televisión Española, TV3 (Catalonia), and À Punt (Valencia). Additionally, Belgian, Swiss, and French television are also on board. Despite the potential risks, many saw promise in the film’s potential success.

Can you describe the major hurdles encountered during the production process, particularly when it comes to creating your debut feature film using stop-motion animation techniques?

As a budding movie reviewer, I embarked on an unforgettable journey with my debut feature film – a stop-motion masterpiece under the expert guidance of first-timer producer Mikel Mas. This was our shared baptism by fire, and as expected, it came with its fair share of tense moments.

The budget we had at our disposal was impressive for a rookie production but modest compared to standard stop-motion features. Consequently, we found ourselves in situations where compromises had to be made between quality and practicality. Needless to say, these decisions were difficult for everyone involved, but I believe we managed to strike an acceptable balance.

The presence of seasoned French and Belgian professionals brought a sense of balance, but it was also a challenging period where decisions had to be made swiftly, including instances where we had to communicate, “Although it’s not ideal, this is what we can manage given our available resources.

Do you think this opens the door for more stop-motion films in Spain?

This movie is one of only three stop-motion features produced in Spain, following “O Apóstolo” and “Pos eso.” Indeed, it’s quite unusual. However, this film has significantly boosted the expertise of the teams working on it. As for whether another project of this magnitude will occur shortly, I cannot say; coordinating five global production companies is no small feat. But with the skills and capabilities now at hand, it’s certainly possible.

What was the production setup like across so many countries?

At first, each production company had separate locations: a puppet workshop in Barcelona, a set building site in Valencia, 3D face modeling done in Chile, and puppet work carried out in France. Over time, we consolidated all these areas into a large studio in Sant Martí for filming. Post-production was handled in various places – some in Switzerland, France, and Belgium – but the actual filming took place all at one location.

Are you planning to travel with the film now that it’s finished?

Indeed, I’ve been part of this movie project since 2017, transforming Maite Carranza’s novel into a film. Now is not the time for me to abandon it; I have events scheduled, such as Annecy, on its horizon. I feel that this film necessitates my involvement. It’s a fragile piece that deals with profound themes like anxiety and depression. In my dual role as executive producer and director, I carry a heavy sense of duty to guide and clarify it for global audiences.

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2025-06-06 11:50