A ritual involving the preparation of wool, dyed red, to cover a stone. The symbolism is linked to the protection of a shepherd who takes care of his sheep before he becomes obsolete.
The growth of large cities swallows the surrounding countryside and forces rural lifestyles into formats subjugated to urban needs. Only the stubborn dedication of some to rural life gives them the necessary courage to maintain their professions despite the strength of a centripetal urbanity. In “The Good Omen” a sheepherder continues his activity even when nearby you can hear the major motorways and the deafening noise of a city like Barcelona. The sheep’s rattles are not enough to drown out the noise of the engines, and in an attempt to guarantee the continuity of his livelihood, the shepherd counts on the help of an ecofeminist collective that works with wool from the flock, artistically intervening in the Sacrificial Stone from Collserola. The extraordinary beauty of this film, which follows both processes, the activity of the pastor and that of the artistic collective, lies in the subtlety with which the director places this story “in a kind of undefined temporality” to show “the traces of the past and the threats of the future.” (Margarida Moz)
