Pablo Bürmann

Filmes

Viagem Entre Estranhos
Director of Photography
Quatro desconhecidos se encontram no centro de Madri para ir de carro a Cieza graças a um aplicativo de compartilhamento de caronas. Tudo transcorre normalmente, mas o motorista parece estar escondendo alguma coisa e se comporta de forma estranha.
Assalto ao Banco da Espanha
Camera Operator
Madri, Espanha, 2010. Enquanto toda a cidade acompanha a participação bem-sucedida da seleção nacional na Copa do Mundo, um grupo de ladrões ousados procura uma maneira de entrar em um dos locais mais seguros e protegidos do planeta.
Assalto ao Banco da Espanha
Second Unit Director of Photography
Madri, Espanha, 2010. Enquanto toda a cidade acompanha a participação bem-sucedida da seleção nacional na Copa do Mundo, um grupo de ladrões ousados procura uma maneira de entrar em um dos locais mais seguros e protegidos do planeta.
Amador
Director of Photography
Amador parece ser o marido e pai perfeito. Ninguém jamais imaginaria que, em uma tarde, Amador está prestes a perder tudo, querendo ser ... ele mesmo.
The Mystery of Padre Pío
Cinematography
The documentary offers testimonies and documents never disclosed about the plot against its protagonist, who had the stigmata of Jesus Christ in his hands, feet and side for 50 consecutive years.
Caronte
Director of Photography
A self-absorbed teenager somehow contacts another universe after she's injured in a car accident.
The Fisherman
Director of Photography
Mr Wong is a third generation fisherman in Hong Kong, struggling to keep this tradition alive. One night, he decides to leave the crowded waters of the harbour, and fish in calmer waters. His luck changes when he catches something that does not belong to this world.
Los muertos no se tocan, nene
First Assistant Camera
Logroño, 1959. The death of a local authority creates a double expectation in his family, the coming of the TV set the deceased bought and the mayor to attend the funeral. His grandson (Airas Brispo) will witness the grotesque situations.
Tritones, más allá de ningún sitio
Cinematography
El elefante del rey
Camera Operator
North Sudan, summer 1923. King Alfonso XIII of Spain captures an enormous African elephant, an apparently irrelevant act that, however, will be paramount to understand the Spain of 20th century; an animal from far lands that will become a symbol of the Second Spanish Republic, the communist movement and many other things; a royal hunting that marks the beginning of a bizarre story of jealousy, passion, political intrigues and taxidermy.
Preso na Escuridão
First Assistant Camera
Um homem atraente e rico encontra o amor de sua vida, mas sofre um acidente que em que namorada morre e que o desfigura com gravidade. Para piorar as coisas, é acusado de assassinato e condenado. Na prisão, se submete a várias cirurgias e consegue recuperar seu belo rosto. Mas começa a apresentar um comportamento estranho, que intriga o psiquiatra local.
Siempre hay un camino a la derecha
Assistant Camera
Los náufragos
Second Assistant Camera
After 20 years of exile, Aron returns to Chile to find out who he is. He asks questions, not only of those who stayed behind but also of himself, examining his relationship with his past and his own memory. The people who stayed lived through 20 years of dictatorship. They were either victims or executioners. Amidst this wreckage, Aron wonders what name his brother is using now, where his father is... Can he, in Isol's arms and through her love, find his way again ? What future awaits him? Like Mola the torturer, he has returned from an impossible journey, and Aron knows that each man is his own executioner. Shipwreck and resurrection are the two facets of a complex truth.