In BROOM BROOM FOLLAR, Adrián Viéitez (a friend of the director and, as his Letterboxd bio proudly notes, a devoted supporter of the Spanish football club Celta de Vigo) says: “the most moving thing in history is not life after death, but passion beyond life.” He is referring to the urban legend that gives the film its title: the story of two teenagers who died while having sex on their motorbike and who have since wandered as ghosts through the Galician city of Vigo and its surrounding areas. “They died doing what they loved. That passion surpasses any limit of death,” says SOHU as the master of ceremonies of her own film. This piece revisits many of the concerns running throughout SOHU’s work, a gaze rooted in her hometown and surroundings, moving between intimate experience and the collective dimension without which her filmography cannot be understood. The film is thereby propelled by the forces of eros and thanatos while at the same time embracing new paths of formal and narrative experimentation. The images in BROOM BROOM FOLLAR smell of petrol; the screen exhales oil. SOHU moves toward an increasingly tactile form of cinema, one where different formats and languages, humour and emotion, reality and fantasy all coexist. A cinema that overcomes death, through which we can continue existing, creating, “fucking in the afterlife”. DANIELA URZOLA