EVERYTHING ELSE IS NOISE is a film about three women artists – Rosa, Tere, and Luisa – at different stages in their lives, whose everyday experiences reveal how the social and cultural changes of recent decades have shaped their personal and professional paths. Through gestures, conversations, and silences, the film observes how social expectations, gender inequities, and dynamics of recognition affect the ways they create, relate, and inhabit the world. The ‘noise’ of the title is multiple: the sound of traffic, voices, and machines, but also the distractions, prejudices, and demands that cloud each woman’s inner experience.
The film emphasises the passage of time and the subtle details of the everyday. The camera remains attentive and almost still, allowing daily experience to unfold naturally. Light, sound, and the slow rhythm of actions build a space where the sensory and emotional intertwine. The television interview that runs through the film introduces a reflection on representation and performativity: We watch the protagonists negotiate their image under the media’s gaze, repeating gestures and answers until the artificiality of supposed spontaneity becomes visible.
In EVERYTHING ELSE IS NOISE, repetition and variation function as both narrative and conceptual tools. Sounds – the cello played by Luisa, the persistent barking, the power failures – create a dialogue between the intimate and the urban, between music and noise. Rather than telling a story in a traditional sense, the film proposes a temporal and sensory experience: an invitation to inhabit the everyday as a space of mystery, vulnerability, and quiet resistance.
Nicolás Pereda
