NO, A FLAMENCO TALE is a musical film, an urban, contemporary flamenco opera in which the action is expressed through dance and the original text is narrated through song.

It is a modern story set in the context of today's social and economic circumstances, in which hardships and uncertainty are common denominators, along with the struggle to survive and the overcoming of difficulties in all fields, particularly in that of artistic creation.

The screenplay develops several scenarios through the leading female character, NO, the common thread that presents us with different daily-life situations that are also regarded from the point of view of gender construction.

The storyline is presented as a tale in which reality and the character's fantasy are confused in the narrative present, in familiar situations that become extraordinary thanks to the art and the magic of flamenco.

The original musical composition strikes up a dialogue between tradition and modernity, between classical and contemporary, just as the choreography and cinematographic depictions are intertwined with dance and the performing arts.The professional cast of national and international dancers is intergenerational.

NO shortens the distance between the language of film and new technical narratives in contemporary art.

NO is a local story that is at once global, in its themes and forms, in the intercultural and pedagogical language of film and, of course, due to flamenco's international renown as the expression of a vigorous art.

SYNOPSIS
NO is a flamenco dancer. She works at a small flamenco venue at Triana Market in Seville. In spite of her enthusiasm and talent, she barely makes enough to live on. Such is our day and age, for artists too, and for women, especially. Feeling overwhelmed by reality, NO believes she is alone. And yet life around her reveals that she is not alone, that her hopes for happiness are shared by others.

This is a delightful story of personal development in which, 'when it would seem that everything is declining, life and its rhythm come to the surface'.