Manolo decides to travel from Spain with his loyal donkey Gorrión and hike the Trail of Tears in America. His daughter is supportive, but Manolo has had some health concerns, and it’s hard to find budget transportation for a man and a donkey (and his dog Zafrana). He deals with corporate and government bureaucracy and with a donkey who quietly refuses to cross a bridge for hours on end. It’s a pretty minor story (Manolo doesn’t take the trip) but the filmmaker captures a loving portrait of his uncle Manolo, some Bela Tarr close-ups of the implacable donkey, and a nice windmill shot at the end to justify the title.
Pereira, from an essential interview by Pamela Cohn in Filmmaker:
More than anything, I think that Manolo’s relationship with these animals is what the film is documenting. In other words, I think it’s the most documentary aspect. From the beginning, both Zafrana and Gorrión are almost in every shot, and we always see the three of them together … And they communicate with one another in various ways — man to animal, and also animal to animal. This is a way of understanding friendship or understanding how humans and animals can enrich each other’s lives, opening our own concepts of friendship and spending complex time with non-humans.