Bajo la piel del lobo, a film directed by Samu Fuentes and played by Mario Casas and Irene Escolar (lobo vs cordero) has in the music of the composer Paloma Peñarrubia one of the most important protagonists of the story. Roots and suffering describes the relationship of man with nature; or also with the vulnerability of the human being, that struggles between howls, with the frailty of emotions that remain orphan through human relationships.

The wild environment is discovered through the cello (the solitary and deepest voice of the orchestra), describing the immensity in which the protagonist lives; a deep and cold place where the beast cohabits with nature. Paloma, refers from the beginning to the loneliness of the protagonist, (Martinón) composing an almost processional melody, that accompanies the lonely man to deep forest; a melody that, for some reason, makes us participants trapper’s lonely life. It is about some kind of cold and distant compassion that empathizes with the rough face of Martinón, that later will be the catalyst of emotions. Roots and suffering for a situation that plays with the nature of the characters using the txalaparta (primitive and violent) to describe the wild nature of Martinón, and the cello to draw the simplicity of the woman who will transform the existence of the poacher. Martinón's relationship with nature is treated differently, showing the fragility of a shy man who surrenders to the enormous beauty of the elements. And the orchestra, delicate and condescending, guarantees the close relationship that leads the protagonist to reconsider his own existence …

The composer rewrites the story based on this beautiful melody that unites the paths of the two lovers; beast and lamb, that sheltered under the skin of the wolf , will live their particular love story. Roots and suffering that lead to the outcome of this tragic adventure transformed thanks to the intelligent evolution of music; process that compromises the place where the different passions of the protagonists meet. Paloma exposes the feelings with a minimalist tempo (a delicate game between treble and bass) that urges the resigned protagonist to understand her new situation. Those wounds, stitched between nostalgia and emotion (once again it is the cello the ferment of feelings) are the fragile cords that bond the lover with her past fleeting memories that music brings alive to the present. Is the power of music that transforms the indomitable spirit of Martin on, that even so, and like the giants of mythology, finally surrounds to the power of earth; wild place where the txalaparta and the cello (soliloquy of the absent voice) ) are the only witnesses of their tragic end.

1. Martinon (4:15)
2. El encuentro (0:48)
3. La mano (1:48)
4. Lobo (1:44)
5. La confesión (3:07)
6. Trineo de vuelta (1:18)
7. La boda (1:17)
8. Llegada a La Roteña (1:04)
9. La Roteña (0:55)
10. Aún sigues aquí (0:51)
11. Estoy embarazada (1:13)
12. Hay una salida (1:06)
13. Huida (1:27)
14. La búsqueda (1:28)
15. Puedes irte (1:01)
16. La sospecha (2:12)
17. Despedida (2:35)