— Synopsis

After love comes family—thus, the first-time mother decides to get rid of every link that no longer has a place in her life, even that of her partner and the ghost of the father figure, which always comes back, reincarnated in an old car.

— Statement

The immortal formula is put to the test once more—a car, a girl, and a boy. Movement, changes, love, humor, family, distances, indifference, music, cinema, cigarettes. A car is passed on from father to daughter and is less an inheritance than a legacy, a tenacious permanence, a persistence. With unusual passion, insatiable and loaded with imagination and boldness, what persists in Macadam is film. What also persists is that television from the past had cinematic relief. The reliefs, textures, and references that Macadam amalgamates with miraculous flair and generous fluency go from the Twilight Zone to Jean-Luc Godard and John Carpenter. Ignacio Sarchi, a producer until now, appears surprisingly and astonishingly as the first-time director—one loaded with cinephile courage and nobility—we had been expecting. (Javier Porta Fouz)