A spinning bike, a corpse, a plastic dick, lies, lots of lies, a maid, some blood, money cleaning up the mess, a perfect world slowly falling apart and greed watching from its seat in the front row.

“Spinning,” directed by Isabel Vaca and Arturo Mendicuti, offers a sharp and satirical exploration of greed, deceit, and the fragility of a seemingly perfect life. Through an absurd yet intriguing combination of elements—a spinning bike, a corpse, a plastic prop, and a maid cleaning up blood—this short film unravels the messy consequences of living in a world fueled by lies and corruption. As the chaos intensifies, the facade of order crumbles, leaving greed as the only force sitting comfortably in the front row, watching the collapse unfold.

Blending dark humor with a critique of societal excess, “Spinning” is a vivid, fast-paced commentary on moral decay. Vaca and Mendicuti craft a chaotic yet precise narrative that engages the audience with its surreal elements while reflecting deeper themes of human behavior. This provocative film holds a mirror up to our own obsessions with wealth and status, revealing the cracks beneath the polished surface.

Can you tell us what inspired the story, and how did you decide on the balance between absurdity and dark drama?

The film was actually inspired by real events. During the pandemic, Isa’s sister accidentally dropped a dumbbell while doing a spinning class on her balcony; luckily, no one was hurt. This incident sparked the idea that later evolved into a script – and the rest is history.

As directors, one of the biggest challenges we faced was finding the right tone, as dark drama can be one of the most difficult genres to handle. We aimed to make the story slightly absurd while preserving the underlying darkness of the universe we created.

The theme of greed seems to play a significant role in the film. How does the narrative explore the destructive nature of greed, and why was it important to you to tell this story?

We sought to portray greed as an inherent trait in both characters, driving them to prioritize their own gain at the expense of others. Despite coming from very different social backgrounds, they find themselves trapped in a situation where greed seems to be the only path forward.

The narrative explores the destructive impact of this relentless desire—whether for power, wealth, or control—showing how it unravels relationships and personal integrity. The characters’ choices spiral into chaos, often with absurd and darkly humorous consequences.

The film combines strange, sometimes shocking imagery with a deeper commentary on societal collapse. How did you approach blending these visual and thematic elements together?

We aimed to create an uncomfortable universe that gradually unravels as the story progresses. At the same time, we wanted to maintain a sense of realism, grounding the absurdity in the reality of two individuals conspiring to commit a crime.

This way, we could explore the moral decay beneath the surface without shying away from the seriousness of their actions. This blend helped us craft a narrative where humor and discomfort collide, echoing the larger theme of societal collapse.

The idea of “a perfect world slowly falling apart” is a strong visual metaphor. How did you use the production design and cinematography to reflect this concept throughout the film?

We envisioned a story set in an initially pristine environment—where the decoration, expansive spaces, marble kitchen, and stunning views all appeared perfect. As the narrative progressed, however, we gradually descended into a more desolate, wasteland-like setting.

For the cinematography, we employed a wide format to capture stylized shots, while also incorporating some high-angle shots and angular lenses to convey a sense of underlying unease and disarray.

There’s an element of satire in the film, particularly in how greed and lies are portrayed. How did you find the balance between humor, absurdity, and the film’s darker themes?

As we mentioned earlier, establishing the film’s tone was the most challenging aspect of developing the story. We leaned into some satirical elements by using the character’s absurd actions to highlight the farcical nature of their situation.

At the same time, we ensured that these moments of humor were grounded in the film’s darker themes of crime and moral decay. This contrast allowed us to use satire to both entertain and provoke thought, revealing the inherent absurdity in the characters’ desperate lies while maintaining a sense of unease about the consequences of their actions.

Can you tell us more about your process of working with the cast, particularly in navigating the absurdity of the narrative and keeping the performances grounded?

Casting was a challenging part of bringing the story to life. We were concerned about falling into common character stereotypes, despite the story not being written that way.

Our goal was to create bold, authentic characters that enhanced the realism of the narrative, without their performances coming across as overly comedic. Fortunately, Mara (Regina) and Alejandra (Juli) grasped this vision from the beginning, which made the shooting process much smoother.

The title *Spinning* seems metaphorical. How does the act of spinning (whether the bike or the broader metaphor) tie into the characters’ unraveling lives?

The title *Spinning* serves as a metaphor for the characters’ increasingly chaotic and unstable lives. On a literal level, it references the spinning bike that becomes a central symbol in the film, highlighting the characters’ attempts to maintain control in a situation spiraling out of their grasp.

On a broader scale, the act of spinning represents the way their lives are caught in a cycle of manipulation, as they weave complex webs of lies to conceal their crime.

What do you hope audiences take away from the chaotic and layered narrative of *Spinning*? Is there a specific message or feeling you want to leave with them?

*Spinning* is a dark comedy that aims to address a country with enormous social inequality, where money is the best tool for survival. It is a deeply human story that reflects on the value of our morals, the cost of our complicity, and the price of our lives.

*Spinning* provides a profound exploration of the themes it tackles. It critiques our deep indifference towards others, offering the audience a chance to laugh while engaging with a humanistic critique of ourselves.

Can you tell us what are your favorite short films?

Tough question! Some of them are:
Wasp, by Andrea Arnold
Fauve (Watch on FS), by Jeremy Comte
Yulia and Juliet, by Zara Dwinger