ALBERT PONS

Videography

Films

SONOMA (LE FILM, PAS LE SPECTACLE)
A year before its successful passage through the prestigious Avignon festival, the company La Veronal launches the process of creation and rehearsal of Sonoma, its new contemporary dance piece. We will witness how, inspired by Buñuel and surrealism, the choreographer Marcos Morau and the dancers shape, day by day, gesture by gesture, this celebrated piece.

Film (88min) and a serie (7 chapters) for Caixa Forum+.

Co-directed by Albert Pons and co-cinematography by Albert Pons.
OPENING NIGHT
Short film for the opening night show of Marcos Morau.

La Veronal, 2021
Production Company Carmel
Directed by Albert Pons and Xavi Lozano
THE WIND TAPPED LIKE A TIRED MAN
A poem by Emily Dickinson.

Filmed by Carla Ibáñez, Paula Ibáñez, Guim Tió and Albert Pons
Shoot on Kodak VISION3 Negative Film 50T
FRANCESCO D’ASSISI
Show Short film included in Jordi Évole's program interviewing the Pope Francesco.

Short film for TV. Salvados, La Sexta (2019)

Production company Producciones del Barrio

Cinematography by Marc Gonzalez and Albert Pons

Commercial

Firmamento
Short film for the Firmamento show of Marcos Morau.

La Veronal, 2025
Production Company Carmel

Directed by Albert Pons
EL nostre camí
Commercial for Futbol Club Barcelona titled "Our Path" about the journey the players take during the UWCL qualifiers and their return to the Spotify Camp Nou.

Directed by Albert Pons
Íntimament lligats – presentació temporada LICEU 25/26
Commercial for Liceu (2024)
Production company Carmel
Dirceted by Albert Pons
DOBLE TRABAJO
Commercial for Skoda (2024)
Production company Carmel
Executive production by Albert Pons
LA GROSSA TOCA QUE TOCA
Commercial for Loteries de Catalunya (2024)
Production company Vampire Films
Cinematography by Albert Pons
AN ICON IN PROCES
'An icon proces!' is advertising campaign for Puig's Women's America's Cup.

Commercial for Carmel

Directed by Albert Pons
CRECEMOS EN LA CULTURA
A campaign thet remind us culture has the power of transforming us and making us grow.

The museum CaixaForum offers a wide range of events with a broad appeal: exhibitions of ancient, modern and contemporary art, which make CaixaForum one of Barcelona's most dynamic, active and vibrant venues. Exhibitions devoted to international artists, together with concerts, film screenings, debates and lectures, performing-arts events and more.

They launched a campaign to show their programming for the upomming 2023/2024 season.

Directed by Albert Pons and Gin Torrado, cinematography by Albert Pons
NO TE LA FOTIS!
'No te la fotis!' is advertising campaign about everyday situations behind the wheel that involve distractions for Servei Català de Trànsit.

Commercial for White Horse & Folch Studio

Directed by Albert Pons
FOOTBALL IS NOT FOR GIRLS
Commercial for Futbol Club Barcelona (2018)
Agency Miller O'Connor
Production company Carmel
Directed by Albert Pons
Cinematography by Albert Pons
AMNESTY FOR ALL
Commercial for Casa Nostra Casa Vostra (2020)
Production company Carmel
Directed by Albert Pons
Cinematography by Albert Pons
SHISEIDO MEN
FC Barcelona and Shiseido men join forces once again to promote the proper care of men's skin. The Club and the Japanese cosmetics firm, partners since last season, launch their second joint campaign with Sergi Roberto as ambassador under the slogan “A future without limits. Thanks to the most advanced anti-aging technology”, with which they want to raise awareness of the importance for men to follow a correct routine from the age of 30 and thus be able to count on skin full of energy in the future.

Cinematography by Albert Pons
MORE THAN
Commercial for Futbol Club Barcelona (2021)
Agency Delirium
Production company Carmel
Directed by Albert Pons
READY 4US
Commercial for Futbol Club Barcelona (2017)
Agency DoubleYou
Production company Carmel
Directed by Albert Pons
EMOTIONS BRING US TOGETHER
Commercial for Futbol Club Barcelona (2020)

Agency Miller O'Connor
Production company Carmel
Cinematography by Albert Pons
RED HOOK
Just hours before winning the Red Hook Criterium BCN3, Kacey Lloyd was interviewed by photographer and filmmaker Caterina Barjau.
Kacey's thoughts about racing accompany Barjau's first ever look at the world of fixed gear crit.

Documentary for Volata Magazine (2018)
Production company Boogaloo Films
Cinematography by Albert Pons
EL BARÇA JA BATEGA AL BAIX
Commercial for Futbol Club Barcelona (2019)
Agency BUM
Production company Carmel
Directed by Xavi Lozano and Albert Pons
BALTASAR DE VERITAT
Commercial for Casa Nostra Casa Vostra (2019)
Production company Carmel
Cinematography by Albert Pons
EXTRAORDINARY FAMILY
Commercial for Futbol Club Barcelona (2019)
Agency Miller O'Connor
Production company Carmel
Cinematography by Albert Pons
PREMIS NACIONALS DE CATALUNYA
Commercial for CONCA (2017)
Production Company Carmel
Cinematography by Albert Pons
ACADEMY PRO BRAZIL
Commercial for Futbol Club Barcelona (2019)
Agency Carmel
Production company Carmel
Cinematography Albert Pons
100 METROS
Movie credits for 100 Metros (2019)
Production Jordi Rins and Kote Berberecho
Cinematography by Albert Pons
LA NENA QUE VAIG SER
Commercial for Futbol Club Barcelona (2016)
Agency DoubleYou
Production company Carmel
Directed by Albert Pons
SOM PENYES
Commercial for Futbol Club Barcelona (2018)
Agency Summa
Production company Carmel
Directed by Albert Pons

Documentary film

Eclosió, escenes del debut operístic de Ros-Marbà
'Eclosió, escenes del debut operístic de Ros-Marbà brings us closer to Antoni Ros-Marbà, one of the most prominent figures in Catalan music, with a spectacular career as both a conductor and a composer. Now, at 89 years old, he takes up the baton once again to lead the Gran Teatre del Liceu Orchestra in the premiere of his first operatic composition, 'Benjamin a Portbou'.

Through this documentary, we explore the trajectory of this exceptional musician, witness the various tasks involved in staging an opera, and delve into the life of Walter Benjamin—one of the most important thinkers of the 20th century, to whom Ros-Marbà dedicates his operatic debut.

Directed by Albert Pons
COSMOS
Cosmos is the title of the audiovisual project that pays tribute to this year's five award winners: the theater company Dagoll Dagom, the musical duo Tarta Relena, the visual artist Mari Chordà, the choreographer Marcos Morau, and the human tower group Castellers de Vilafranca. Journalist Clara Narvión will meet with the winners in an intimate setting, surrounded by nature and under the subtle glow of the night.

The project is produced by Carmel and directed by Cristina Tomàs in collaboration with 3Cat. It consists of six audiovisual pieces: a documentary featuring all five winners and five individual interviews. The soundtrack for Cosmos is the result of a collaboration with the singer Mar Pujol, whose voice will provide an intimate accompaniment to the pieces, which will also feature songs by Tarta Relena.

Photography by Albert Pons & Kiku Piñol
Re-Endollats
Documentary by PS21 BARNA for the WASTE AGENCY OF CATALONIA (Agència de Residus de Catalunya), produced by CARMEL and funded by WEEE PROs (Producer Responsibility Organizations) as a further action within the global awareness campaign to promote the selective collection of Electrical and Electronic Equipment in Catalonia.

Directed by Albert Pons
EL RISC RADICAL. ESPAI 10/13
Since 1978, L'Espai 13 at the Fundació Miró has been dedicated to supporting and curating emerging Catalan artists. 'El risc radical. Espai 10 - Espai 13' is a documentary that reconstructs the trajectory of this space and its impact on Catalan culture as a laboratory for emerging talent. With previously unpublished archives and intimate interviews, the documentary champions Espai 13 as an engine for creative freedom and innovation, demonstrating the transformative power of art.

Artists such as Jaume Plensa, Perejaume, Laia Estruch, or Susana Solano and curators like Vicenç Altaió, Miquel Molins, or Alexandra Laudo participate in this audiovisual work, confirming Joan Miró's wish to create a space where new generations could showcase their productions

Directed by Albert Pons
EL PODER FEMENÍ WITH CARLA SIMÓN
In this series of five interviews, filmmaker Carla Simón reflects on the representation of the female figure in cinema based on various films directed by women.

Directed and cinematography by Albert Pons
AÚPA
Reborn from us. A (brief) history of football in Logroño.

From television to daytime football. From the spotlights to the noise of the tribe. From the coldness of an administrative decadence to the bonfire that lives in the heart of everything genuine. This is how it begins and this is the journey of CD Logroñés fans who, after a still unconsummated disappearance, decide to found SD Logroñés after a meeting. This is the truest day-to-day story of what, whatever happens, will always continue to be football.

Production company Carmel & Odio el fútbol moderno
Directed by Albert Pons
Cinematography by Albert Pons and Marc Ibáñez.
PER OCULOS
Per Oculos portrays the multifaceted and historical relationship of the Tarta Relena. Marta and Helena met when they were six years old, and in the course of this friendship they have created a common imaginary that they have turned to a cappella music and singing. Through anecdotes and reflections from his immediate environment, the creative process of his latest album and the origins of the project are drawn.
Tarta Relena seen by Irene Moray, Clàudia Torrents, Carme Redon, Irene Martínez, Gerard Segura, Oriol Barba, Arnau Seguí, Òscar Garrobé, Maria Arnal, Roser Casamayor and Marta Boldú.

Production company Carmel & The Indian Runners
Directed by Albert Pons
Cinematography by Albert Pons, Marc Ibáñez and Gin Torrado.
ENFOQUES WITH TXEMA SALVANS
Documentary series of 6 chapters for Caixaforumplus. In the first season of 'Enfoques', the photographer Txema Salvans reviews the most outstanding projects of Estela de Castro, Alejandro Cartagena, Emilio Morenatti, Pilar Aymerich, Yann Gross and Mireia Sallarès.

Serie (6 chapters) for Caixa Forum+.

Directed by Albert Pons.
TANTI AUGURI
A documentary by La Perla 29

Production company Carmel
Directed by Albert Pons
Cinematography by Albert Pons
EL PAISAJE FÍLMICO WITH J.L GUERIN
Documentary series of 5 chapters for Caixaforumplus. In this series of five interviews, teh film director Jose Luis Guerin analyzes different films, reflecting on the filmic treatments of landscape and the decisions and resources of filmmakers when capturing it.
Serie (6 chapters) for Caixa Forum+.

Directed by Albert Pons.
PARÈNTESI
Parèntesi is a documentary recorded in Barcelona during the state of alarm and the first home confinement established as a result of the appearance of COVID-19. In this very particular context of a global pandemic, the documentary reflects on the society in which we live, linking the socio-economic dynamics of the capitalist system with the emotions they generate in us. With the participation of the economist Arcadi Oliveres, the writer Brigitte Vasallo, the professor of Political Science Joan Subirats, the activist Maria Serra, the journalist Luca Dobry, the philosopher Eurídice Cabañes, the psychologist Gisela Pi, the social educator David Vázquez and journalist and youtuber Pol Andiñach.

Documentary for BTV, 2020
Production Company Carmel
Directed by Albert Pons and Oriol Cid
Cinematography Albert Pons and Marc Ibáñez
MATCHDAY
Documentary series that follows FC Barcelona and its players through the milestones of the 2018-2019 season and sheds new light on the culture and philosophy of Barça, one of the world's most beloved soccer teams. Narrated by John Malkovich, the series provides viewers with an unlimited view of the club and the players, following the team as they enjoy the thrill of victory and strive to overcome defeat.

Documentary series for Rakuten TV (2019) and Netflix (2020)
Production company Producciones del Barrio, Barça Studios and Kosmos Studios
Cinematography by Albert Pons and Xavi Lozano
SIN REFUGIO
The closure of the Macedonian border and the end of the Balkan route in late 2015, thousands of people, many of them fleeing the war, were trapped in northern Greece. The epicenter of this humanitarian crisis was in Idomeni, a small town on the border that turned into a gigantic makeshift camp. Nearly 15,000 people, 40 percent children, were crowded in this place, until the Greek government decided to dismantle it in May 2016. The harsh and precarious conditions of the families who lived in tents on the mud were joined by despair of not being able to continue their journey towards a life of security and prosperity. Faced with the inaction of European governments and large NGOs, hundreds of citizens have individually decided to pack their bags, go to the refugee camps and help as they can. Europe denies them refuge.

Documentary for Vice News and Movistar+ (2018)
Production company Vice and Goroka
Directed by Bernat Sampol and Albert Pons
Cinematography by Bernat Sampol and Albert Pons
AGAINST ALL ODDS SANTIAGO LANGE
The history of the great Santiago Lange. He competed in five Olympic Games, representing Argentina at the highest level, and fought against lung cancer that almost marginalized him from the competition, until the Rio 2016 Olympic Games arrived… The rest is history.

Documentary for Olympic Channel (2017)
Poduction company Mediapro
Directed by Albert Pons
HOW TO – BARÇA STYLE
Documentary series for BarçaTV+ (2021)
Production company Carmel
Cinematography by Albert Pons and Xavi Lozano

Diaris Fotogràfics amb Tanit Plana
Diaris Fotogràfics is a documentary series of 6 episodes, produced by Carmel for 3CAT and ICECC.
Directed by Albert Pons
GentEva
GentEva is a documentary series of 9 episodes, produced by Carmel for 3CAT and SOMEVA.
Directed by Albert Pons
LES DONES I ELS DIES
Les dones i els dies is the documentary series of 9 episodes, produced by Carmel.

Masculinism encompasses a series of behaviors related to the undervaluation of women in all areas and is evident in more or less obvious ways: relegating women to the domestic sphere, abusing them physically, assigning emotional instability to the her status as a woman, enhancing her dependence on men, using menstruation as an element of guilt, judging her by her ability or inability to have children, sexualizing her to the extreme while creating a social obsession with your image...

Directed by Albert Pons
FUTBOL MODEST
Futbol Modest is the documentary series of 9 episodes, produced by Carmel.

Through the history of neighborhood and village clubs throughout Catalonia, we portray the human stories that make it possible for these entities in danger of extinction to continue generating bonds between people, belonging to a place and passion for a sport beyond the money.

Directed by Albert Pons
X, LA SÈRIE
X, La Sèrie, written and directed by Mònica Barrio and Marina Congost, challenges the patriarchal world through a daring audiovisual collage. Reality and fiction at the service of activism.

Series for TV3 (2021)
Production company Carmel
Cinematography by Albert Pons and Núria Gámiz
PORTRAITS PERFILS
Portraits of the interviewed characters for Perfils.

Pol Roig. Mireia Oriol. Massin Akandouch. Sergi Santiago. Marta Mas. Mari Pau Artés. Juliana Canet. Clara Moraleda.

TV program for Tv3 (2019)
Production company Carmel with Tv3
Directed and cinematography by Albert Pons
PERFILS
It is a meeting point between two generations through a conversation on social networks. On the one hand a young guest, a native of the Digital Age, who has triumphed within his sector thanks to the XXSS; and on the other, an already devoted professional, who has also assimilated the XXSS as a main tool in his work. The program contrasts the views of the two guests on how XXSS has impacted and influenced their sector as a whole, their particular jobs, and also their personal lives.

TV program for Tv3 (2019)
Production company Carmel with Tv3
Directed by Albert Pons
DESPUÉS DE ASTRAL
Después de Astral, a program on the drama of the refugees, a problem that Europe remains unsolved as the Mediterranean becomes a cemetery.

Documentary for Salvados, La Sexta (2019)
Production company Producciones del Barrio
Cinematography by Marc Gonzalez and Bernat Sampol
Second unit Albert Pons and Paco Amate

Music video

LA DESPEDÍA
Video clip for Maestro Espada
Frontera H (2024)
Production company Carmel & White Horse
Director of photography Albert Pons & Bernat Sampol
VENTURA
Video clip for Maria Arnal & Marcel Bagés
Fina Estampa (2021)
Production company Carmel & La Veronal
Directed by Marcos Morau & Albert Pons
SOMOS ARTE FUNENARIO
Video clip for Invisible Harvey (2017)
Production company Carmel
Cinematography by Albert Pons, Marc González and Bernat Sampol
I’M SO LOST
Video clip for Kyne (2016)
Production company Carmel
Directed by Albert Pons
OCEANES
Video clip for La la Clara Peya (2017)
Production company Carmel
Cinematography by Albert Pons
EL FIN DEL MUNDO
Video clip for La la Loveyou (2019)
Production company Carmel
Cinematography by Albert Pons and Francesc Roig
ATLANTIS
Video clip for Joan Miquel Oliver (2016)
Production company Guardas Forestales
Cinematogaphy by Albert Pons
JO NO VINC AL POU
Video clip for Judit Nedderman (2016)
Production company Carmel
Cinematography by Albert Pons and Albert Eritja

Photography

Personal projects

RAIN COVERS
Bali, 2019
WILLIAMSBURG
Williamsburg, New York. 2019
AMÉN
Sevilla, Spain 2017

A la pasión, a la muerte y a la resurrección. A Dios vas y amén vuelve. Un camino de piel y cera. Una herida. Sangre y lágrimas. Oro y lino. Un paso, otro paso. El pie, la piel, la sangre de Cristo, y la Virgen que llora, que ama. Os ama a todos. Otro paso. La fe. Sí. La fe. De todos. Nos ama. Lo amamos. Reposo y silencio. El grito. El canto. El pie, la herida, la sangre de Cristo. Un beso. El beso. La liturgia y sus confesiones. Lo amo, me odio. El amor. El amor de Cristo. Un paso, otro paso. La bendición. El camino de pasos y nazarenos. Las llamas y los gritos. Pasión, muerte y resurrección. La cruz. Beso la cruz, el cuerpo de Cristo. La condena. El fuego eterno y el cuerpo. La resurrección, nuestra salvación, su amor, sin pecado. El alma, la pasión, la vida. Y amén.

Sara da Pena Gómez
SANTACON
Manhattan, New York. 2019
EL CLOT
El Cabañal, Spain. 2017

It is an old fishing district of the city of Valencia that between 1837 and 1897 constituted an independent municipality called Pueblo Nuevo del Mar. El Clot is the closest block to the sea in this neighborhood.
UN PART A CASA
Santa Maria de Martorelles, Spain (2009)

Un part a casa is a project that was born at the same time as my nephew, Magí. The protagonists of this story are those who were lucky enough to accompany this birth in the dining room at home. It was an informed decision and a fully lived process. The unstoppable force of life made us take care of the baby's exit. And the intensity of that eternal moment moves us to share a unique experience.

More and more women are deciding responsibly how they want to give birth. They demand respect, warmth and trust. They call on the ancestral courage that binds them to life and gives them the right to decide about their own bodies.

work

TOTENTANZ
Barcelona, Spain 2022

Fabio Calvisi, Ignacio Fizona Camargo, Valentin Goniot y Lorena Nogal.

Totentanz, directed by Marcos Morau (La Veronal).
EL PODER FEMENÍ AL CINEMA
Photographs taken for the promotion of the serie El poder femení al cinema, with Carla Simón. In five interviews, the director Carla Simón reflects on the representation of the female figure in cinema based on various films directed by women.

Photographs by Albert Pons
FIRMAMENTO
Barcelona, Spain 2023
Àngela Boix, Jon López, Núria Navarra, Lorena Nogal, Marina Rodríguez y Shay Partush.

Firmamento, directed by Marcos Morau (La Veronal).
ANY RECTOR
EL PAISAJE FÍLMICO

Sin punto de vista, no hay paisaje. Esta era la base esencial para los primeros operadores cinematográficos en una tarea común con los fotógrafos y pintores que oteaban el espacio antes de decidir dónde fijar sus trípodes y caballetes. Este programa cinematográfico, compuesto de cinco sesiones, se presenta como complemento de la exposición "Horizonte y límite. Visiones del paisaje", y tiene como objetivo ofrecer unos títulos significativos en la historia del cine que invitan a pensar en los discursos que laten en el paisaje filmado.

Ciclo comisariado por José Luis Guerin (Barcelona, 1960), cineasta español cuya obra se caracteriza por un estilo claro, depurado, reflexivo y con una fuerte vocación poética en conexión con toda la Historia del Cine. Reconocido por la crítica y el público, ha recibido diversos premios y reconocimientos, entre ellos, un Goya a la Mejor Película Documental, en 2001, por En Construcción.
28 i MIG
Laura Aubert Blanch, Guillem Balart, Xavier Boada, Màrcia Cisteró, Enrico Ianniello, Blai Juanet Sanagustin, Clara Segura Crespo, Montse Vellvehí and Joan Garriga Marià Roch Marc Serra and a horse.

28 i mig, directed by Oriol Broggi (La Perla 29).
CELLER DE CAN ROCA
Barcelona, Spain 2020
Portraits for the documentary Joan, Josep i Jordi, directed by Pepe Combalía & José Manuel Val
OPENING NIGHT
Barcelona, Spain 2021
Mònica Almirall, Valentín Goniot, Núria Navarra, Lorena Nogal, ShayPartush y Marina Rodríguez.

Opening night, directed by Marcos Morau (La Veronal).
SONOMA
Barcelona, Spain 2020
Àngela Boix, Lorena Nogal, Núria Navarra, Sau-Ching Wong, Ariadna Montfort, Marina Rodríguez, Alba Barral, Laia Duran and Anna Hierro.

Sonoma, directed by Marcos Morau (La Veronal).
OPEN THE BORDERS
Idomeni, Greece. 2018

“¿Qué vida es esta? ¿Morir en casa con los bombardeos sería mejor que morir aquí?”, cuenta Abdelhakim Mekawi, un hombre de unos sesenta años, en medio del caos de tiendas de campaña y humo que es el campamento de Idomeni. Abdelhakim tuvo que huir de Homs, una de las ciudades sirias más devastadas tras cinco años de guerra. “Mi hija, mi yerno y mi nieta muerieron en Siria”, añade. Como la gran mayoría, Mekawi quería llegar a Alemania, pero ahora está atrapado en Idomeni, un pueblo griego fronterizo con Macedonia que se ha convertido en un gigantesco campamento de refugiados improvisado.

Es un cuello de botella, una trampa. Cerca de 15.000 personas — en su mayoría sirios, iraquíes y kurdos que huyen de la guerra — se hacinan en Idomeni y otros campamentos que han surgido en los alrededores. Todo empezó a finales de febrero, cuando Austria movió sus fichas e instó a los países de la llamada ruta de los Balcanes — Macedonia, Serbia, Croacia y Eslovenia — a cerrar sus fronteras. En la primera semana de marzo, la amenaza se hizo realidad. Lo que era un campamento de tránsito, una especie de última parada en Grecia antes de seguir hacia Macedonia, se convirtió entonces en una pequeña ciudad. “En poco tiempo pasamos de unos 2.000 a cerca de 14.000 personas”, asegura Giuliano Stroppa, un italiano que se encarga de la logística de Médicos Sin Fronteras. Son prácticamente la única gran ONG que opera aquí.

La mayoría de los voluntarios que han acudido para aliviar el sufrimiento de los refugiados son ciudadanos a título independiente que vienen, se arremangan y se organizan. Muchos de ellos critican el papel de ACNUR, la agencia de la ONU de ayuda a los refugiados. “Hay carpas de ACNUR, pero solo las carpas, ellos no están, aquí nunca ha habido nadie con chaleco azul. Nunca nadie en todo este tiempo”, explica David Zorrakino, uno de los voluntarios más activos en el conocido como el Eko Camp, uno de los pequeños campos improvisados que han surgido en los alrededores de Idomeni. Se llama así porque ha sido levantado en medio de una gasolinera de la petrolera Eko.

Lo primero que llama la atención al llegar a Idomeni es la increíble cantidad de niños que hay en el lugar. Según los datos que manejan los voluntarios, el 40 por ciento de las personas atrapadas en el campamento son menores de edad. Niños que ya han visto de todo. “Los niños no dibujan árboles ni pájaros. No dibujan paisajes bonitos, sino tanques, bombas y gente muerta”. Así lo narra Sulta, una mujer kurda de la ciudad siria de Afrin. Una señora lleva a una niña de unos cinco años en sus brazos. Se llama Berivan, y es de Alepo. Cuenta que tiene cinco hijos viviendo con ella desde hace un mes en una tienda de campaña. No sabe si su marido logró llegar hasta Alemania. Ahora ellos están atrapados aquí. La historia se repite por todo el campamento. Huyeron de las bombas de Siria y acabaron en Turquía, donde malvivieron hasta que pudieron reunir el dinero suficiente para enviar al más fuerte de la familia — habitualmente el padre o el hermano mayor — hasta el corazón de Europa. Los demás les siguieron unos meses más tarde, pero se encontraron con la ruta de los Balcanes cerrada. Son muchas las familias que se encuentran así, separadas por unas fronteras que no pueden cruzar.

En Idomeni el humo es constante, provocado por las miles de hogueras que se encienden todos los días para combatir el frío y la humedad. El olor es profundo ya que los acampados queman prácticamente cualquier cosa que les pueda proporcionar un momento de calor. Estos fuegos están provocando severos problemas respiratorios, especialmente a los niños. Así lo expresa Alberto García, médico voluntario que, impactado por las imágenes que veía por la televisión, decidió viajar a Idomeni para ayudar en lo que pueda. “Aquí la sarna es un problemón, llevamos un par de días pensando cómo vamos a gestionar esto”. Un problema que se complica por lo difícil de implementar una solución, ya que el protocolo indica que los afectados tendrían que quemar sus ropas y sanear los lugares en los que duermen, algo imposible para los habitantes del campamento. En el campo de refugiados de Idomeni se hacinan cerca de 15.000 personas en unas condiciones muy difíciles. Con todo esto, lo que predomina en Idomeni por encima de todas las cosas es la desesperanza, la incertidumbre sobre el futuro. Muchas de las personas atrapadas aquí empiezan a asumir que la frontera con Macedonia, para ellos, no se va a reabrir nunca. “Es vergonzoso que en Europa la gente tenga que vivir en estas condiciones. Están desesperados y frustrados, hace más de un mes que están aquí”, opina Guiliano, de Médicos sin Fronteras. El gobierno griego aprovecha esta desilusión creciente para tratar de ir vaciando Idomeni poco a poco.

Todas las mañanas autobuses con el eslogan “Crazy Holidays” [Vacaciones Locas] escrito en sus costados se detienen cerca del centro del campamento. Es un reclamo para los más desesperados. Su destino son los campos levantados por el gobierno griego lejos de la frontera. Un día se suben 50 personas, otro día más de 500. Aunque son muchos los que desconfían. Temen que esos campos acaben como el campamento de Moria, en la Isla de Lesbos, convertido en un centro de detención del que no pueden escapar tras el acuerdo entre la Unión Europea y Turquía para deportar a los refugiados. “El acuerdo es una vergüenza, nos tratan como si fuésemos mercancía, Turquía lo único que quiere es dinero”, dice en un buen inglés Rezan Rasheed, un kurdo de Siria, quien recuerda con miedo el trato que les dieron los turcos a él y a sus padres durante la primera etapa de su huida. Vea también: Mojados, enfermos y atrapados: miles de niños, víctimas de la crisis fronteriza europea. Una mujer rodeada por la policía griega durante una protesta. La otra cara, también amarga, de esta desesperanza son las falsas ilusiones. Los refugiados se aferran a cualquier esperanza en un lugar donde los rumores vuelan y de la noche a la mañana se convierten en verdades para ellos. En medio del campamento, sobre las vías del tren y a pocos metros de la frontera, presenciamos una manifestación. Un joven asegura que les han dicho que miembros de la Cruz Roja y periodistas van a ir en primera fila para cruzar a Macedonia. Algunas familias incluso ya han preparado sus mochilas para seguir su ruta. La tensión aumenta y la policía antidisturbios griega se prepara con sus escudos. Tras varias horas, la manifestación se diluye. Otras veces el resultado es más dramático. El domingo 10 de abril se repartieron entre los acampados panfletos en árabe que afirmaban que ese día la frontera se reabriría durante unas horas. Cerca de 500 personas desesperadas se agolparon en la barrera, exigiendo su apertura. Los militares macedonios los reprimieron de forma desproporcionada. Médicos sin Fronteras atendió ese día a cerca de 300 personas por los efectos de los gases lacrimógenos e impactos de balas de goma. Entre ellos había 30 niños. “Se les está tratando como animales. Llegan aquí esperando encontrar algo de humanidad y lo que se encuentran es este lugar en el que les han abandonado. Realmente quieren desmoralizarlos para que lleguen a la conclusión de que aquí no tienen futuro”, afirma Miguel Ángel Fernández, un bombero español, de Santiago de Compostela, que ha juntado días extra con vacaciones y que es uno de los voluntarios que más tiempo lleva en Idomeni. “Nosotros somos seres humanos, ¿no? Si quieren dejarnos morir aquí, moriremos aquí”, sentencia Surta, la mujer kurda de Afrin. La vergüenza de Europa se llama Idomeni. Dejemos de llamar refugiados a quienes estamos negando el refugio.

Este artículo fue publicado en VICE News.
Texto: Dani Campos @danicamposd
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