As in the novel, the film will focus on David and Joseba: David moved to the U.S. and now he's dying. Joseba, his childhood best friend, visits him and through him, he revisits the past of both of them. Francoism, their participation in ETA, echoes of the Civil War, torture, betrayal...

When Bernardo Atxaga published his novel in 2003, he played a role both among Basque readers and abroad. Among other things, the article written by the literary critic Ignacio Echevarría in the newspaper El País, in which he accused the work of the writer of Asteasu of “moral atrophy”, as well as supporting the “development of Basque terrorism”, highlighting that it explained the “conflict of wolves and shepherds”.

After the publication of this article, Echevarría was expelled from El País and a debate broke out in the Spanish cultural environment for possible reasons behind this expulsion –the Spanish-language edition of Sonora’s Son was published by Alfaguara, then the publisher of the Prisa group, which owned El País; and for some it was determinant to get the critic out of the newspaper–.

Regardless of the circumstances of the Basque conflict at that time and the quarrels caused by the ups and downs of cultural companies, the Son of the Sound Player marked the end of an era in Atxaga’s career, as the writer himself explained that he closed the cycle related to Obbaba with this book.

In 2012, the story told by the book was adapted for the theatre under the direction of Fernando Bernués.

Patxo Telleria adapted the text in this version from theatre to theatre and Telleria herself has also done the work of adapting the script for the film. The film will be filmed for seven weeks, mainly in Gipuzkoa and Navarre.