Understanding abuse is never straightforward. The lines between harm and consent blur, revealing many shades of what adults and institutions allow. Marta, Violeta, Sonia and Miriam spent years untangling what happened to them when they were youths at the Lleida Municipal Theater Hall. Their teacher and director of the center, Antonio Gómez, abused them when they were between fourteen and sixteen. Sibylline approached them, befriended them, and granted privileges on a case by case basis, making them feel special so they could entertain innocent fantasies and engage in a spectrum of criminal sexual acts. The abuse touched more than fifty girls over two decades, yet a culture of silence prevailed. People knew, but tradition and respect for authority shielded the abuse from scrutiny.
Isabel Coixet learned of the incidents through the press and reached out to the young women to document their experiences. The prospect of the documentary compelled the survivors to face what had happened, even though the process felt intimidating. From the outset, the survivors stated their priorities. The project centered on the victims and their healing journey, not the abuser, and they insisted that guilt and shame should be placed where it belongs — on the perpetrators, not the victims. They emphasized the necessity of confronting the truth, even when it is painful.
a real monster
El sostre groc is not a traditional horror film, yet it evokes a deeper dread than many entries in the genre. The menace was real, carried out with impunity by someone who believed they were beyond accountability. The filmmaker chose not to dwell on sensational detail, preferring instead to examine the process of trauma and its impact on the victims. The focus was on how the survivors bear their past, how they find the courage to speak up, report what happened, and reconstruct their lives.
Initially, nine women joined the project after signing the first complaint, but some could not withstand the pressure and withdrew from filming. Those who stayed were deeply committed to telling their truth and letting the audience witness the strength that emerges in the face of exploitation.
Coixet considered bringing in an external figure for framing but ultimately decided against dramatization. The survivors themselves would tell their stories, and the documentary team’s efforts to locate material met resistance, as the theater paused and then removed records of the case. Yet footage surfaced that exposed the manipulative tactics used by the director to control his students, presenting a stark portrait of control and coercion.
Fear of reporting
Confronted with such darkness, the survivors spoke with clarity and courage. Their unity strengthened their resolve, and the path they chose was mutual support rather than solitary struggle. The director describes a sense of sisterhood built through shared hardships and careful listening.
Marta, Violeta, Sonia and Miriam hope that their experiences, captured on film, will help raise awareness in communities. The aim is to ease the process of recognizing abuse in younger generations and to encourage reporting even when it feels daunting. In a society that still questions women, their message remains that speaking out is essential for change.
Anthony Gomez, a former member of the Lleida Municipal Theater, faced compensation proceedings of around sixty thousand euros. He could not be tried in the courtroom for his crimes and later relocated to Brazil. This outcome underscores ongoing debates about accountability and the ways institutions respond to abuse history.