Gata Cattana, the rapper who died a second before becoming a star

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There are as many reasons to love

as to be angry with her.

For her.

Ana Isabel García Llorente -that's how she was born- was called to be the next great revolution.

In her way, she already was.

A book of poems (

), a few songs, a brilliant tour of the

scene , a record about to be released, a concert in the Sala Sol recorded in the memory of those who were there they were... It had become the worst kept secret of a generation that claimed for itself new spaces, new forms, renewed struggles.

And suddenly, on March 2, 2017, at the

a

anaphylactic took Ana. And Gata.

Then began a legend that, in his unbearable pain, seems more like a pending account.

He adores the fury of his lyrics and her music, but without giving up the anger that the loss of her brings us.

The documentary '

', signed by

and recently presented at the Seville Festival, recovers his legacy, his figure, his meaning.

But above all, he stops at that instant caught up in injustice and incomprehension that defines any escape before its time.

"I remember", says Sayalonga, "that in one of the tributes that were paid to him in the Madrid neighborhood of Moratalaz he gave me a chance to go through the spaces he mentions in the song

with my camera . It was a kind of video-poem of which the movie came out."

The song she refers to traces the invisible traces of the Civil War through a Madrid oblivious to its own past.

And it would seem that in his absent gesture and in his contained anger,

) succeeds in portraying a good part of what Gata Cattana was and almost everything that the film itself is.

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The film starts in the Córdoba town of

where Ana was born. Her teacher, her friends, her brother and her mother speak.

Everyone remembers with admiration stained with pride the first restless and alert steps of the one who was not in vain the great-niece of the Museum Boy.

"A punk girl who dressed wide and sang flamenco", is heard as an improvised description of her and her first dalliances with the stage.

And so she until arriving in Granada where she began to study Political Sciences and at the hands of complicit voices such as

(

, says another verse about her) she began to be noticed and loved, and to stand out in a world with which, from the outset, a woman who made Rosa de Luxemburg coincide in her lyrics as well as her colleague Keny Arkana seemed to have little to do with it. , than the thinker Silvia Federici or the pharaoh Hatshepsut (all of them are in the song '

').

"You had to listen to her songs with a dictionary in one hand and an encyclopedia in the other," says a colleague between admiration and simple excess.

The truth is that his way of doing and singing was something else.

From all the senses: the aesthetic, the political and, of course, the feminist.

"The curious thing and what made her unique is that she was able to reach all audiences. Her lyrics are very careful and could be described as cultured, or cultist, but without renouncing in any case emotion, the ability to connect with everyone," says the director.

From the screen, in the film,

, who could be considered the echo of her shadow, speaks of what "her seed of her" meant to her.

The rapper

talks about how she opened a path and explains the dimension of the new path: "She revolutionized a macho and masculinized genre where everything was men talking about the ego. My virile member, my song, my, my...

And Silvia Bianchi, art director and style composer, refers to Gata as a woman who went against it by hiding rather than showing, "behind of an image that does not expire.

Eternal," she adds.

'Banzai'

is the name of her posthumous album and she is the only Spaniard, next to Frida Khalo, Nina Simone, Rosa Parks or Angela Davis, on the proudly fair and feminist mural that offends the sad offended so much.

There are as many reasons to love Gata Cattana as to be angry with her.

For her.

According to the criteria of The Trust Project

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• Moratalaz

• Grenade

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