In Roman times, the northwest coast of Galicia was considered to be the end of the world, finis terre, and later became known as the site of many shipwrecks, meriting its morbid name. In "Costa da Morte", Patiño explores how the inhabitants of this area interact with its rugged landscape, living lives tied to the bounty and danger of the sea. To do so, he restricts himself to a single unit of cinematographic vocabulary: the extreme long shot. The human figure finds itself dwarfed, reduced to a small speck within the immense and often dramatic natural settings that emerge as the film’s true protagonists. On the soundtrack, a disorienting rupture of scale occurs, as what is seen at a distance is heard at close proximity, giving the viewer intimate access to noises and voices that appear far away. In Patiño’s words: “I felt that I could go deep into exploring the landscape by exploring how history and legends help to create a landscape’s atmosphere. I focused my filmmaking on the area’s inhabitants who were working in the environment, such as fisherman and women, and boat workers, all of whom I met during the shooting. The pre-existing stories that they tell jointly form part of a collective imaginary.”