UNCERTAIN GLORY responds to the need of closing the Spanish Civil War subject with a third film that concludes this improvised trilogy (The Sea, Black Bread and UNCERTAIN GLORY).

Agustí Villaronga’s approach to the film has been a key element. In his own words, “The backbone of UNCERTAIN GLORY is the moral wreckage that war produces on human beings. It’s not about the war and neither it proposes an open political disquisition. It’s about the emotions and the feelings of its characters. It’s through them that we discover the consequences of the war, away from the battlefield. In our case, so near and yet so far.”

The director aims to film poetry in motion, so he works recreating both the external and the internal worlds of the characters. For Agustí Villaronga it was like playing a piece of music with four hands: it is about four characters living the same stories and reacting and feeling in different ways.

Isona Passola speaks about the film during the shooting with a more intimate and personal voice.


It is not until the first scene is filmed, until the sound of the clapperboard and the “Action!” shout is echoing in the silence of the set crew for the first time, that you realize this thing one day was merely an idea, just a suggestion, is now becoming a reality named “UNCERTAIN GLORY”. And, if it works, it can stir people’s emotions and, if it goes even better, it can reverse collective situations.
It is a producer privilege that, once the project is already thought, designed and financed, we are allowed to take some distance and calmly oversee the first but definitive stage which is the beginning of the filming. Happily, that’s what I am doing now. Being able to see the discipline of the electrics with the focus, props master placing objects, and the actors rehearsing movements… All these things make the producer feel as the almighty creator who has made it real.