After reading, we moved on
to the exercise of extracting
a film from the book, it
has to do with the fact that I found
a theme that for me is recurring: absence,
in this case, the absence of a mother.
A character who lives
with that absence and
who, once developed,
is confronted with the
other side: the mother's
perspective, the opposite narrative.
And, well, that's where I click.
Usually, when I find a story
that I want to tell,
I end up focusing on the absences,
on a topic that, for me,
touches on all themes, in broad terms.
So, there, I found the
opportunity to say something through
the character and the character's experience.
That was the moment when we understood that we were
going to make a film from
that point of view, solely from that perspective.
The perspective of those who go, those
who arrive... Later on, the perspective
of the receiver comes into
the equation.
Yet, we are discovering everything at the pace
of the one who arrives, of the one who moves...
who, in this case, is Lucila.
In addition, the film allows
me to talk about migration,
it allows me to talk
about the military community
in Mexico, which is a topic
that I have spoken little
about and, on top of that, that
I have seen little in terms
of cinematographic works.
It also allows me to speak of
Spain as a safe haven for receiving
Latin American migration; now that crossing through
Mexico is so dangerous and that,
furthermore, you arrive at the
border of a country with a
crazy immigration policy.
Spain is a country that
is receiving immigration and that works
as a gateway to Europe
for Latin Americans.
That is also a topic that we speak too little
about: How Latin American communities
are being created in different
corners of Spain and Europe
and what that brings.
Everyone's against you, huh?
Hey.
What about Marina?
I don't know.
She doesn't talk to me anymore.
I feel that Diego, as director,
was also a colleague.
I think that, sometimes, when you
direct, you forget that you are
working with sensitive material, which means
being an actor or actress, that
you are going through many processes;
because not only is it acting, but also
all the emotional and mental processes that one
goes through to be there.
I think Diego understood that perfectly because he experiences it
when he works as an actor.
So, I felt accompanied by him.
I found a very beautiful dialogue in him
because, he was a director but, I felt like
he was also thinking all the time as an actor
when it came to solving things.
Then, he would share his thoughts with me
and, thus, I too could understand everything
in my own way; what he wanted me
to do and how I could achieve it.
It was a constant dialogue,
a very loving and very friendly dialogue.
I asked what he missed most about her.
“Dancing,” he said.
For me, the movies I direct
and the theater I do
are conceived from Mexico.
This has been the case up to now.
The only times I've tried to
do something else it hasn't worked,
I always end up shooting there.
Now, this is a Mexican film that
takes place in Spain. When we shot
in Mexico, it was a film
that came from Spain
and arrived in Mexico.
Spain was very present.
But, it happens that you carry your reflection,
and your reflection has everything
to do with your context
and your narrative and,
as I said about Lucila,
your own mythology.
What you have built, who you are...
You bring it to your work.
As an actor, it happens in a very subtle way,
but it still happens. They asked me a lot,
for example, in “Andor”, there was
a lot of that reflection there.
We talked a lot
about migrations, about refugees...
About issues that concern us.
They worry you because
you experience them, because
you relate to them.
And that's the imprint of where you
come from.
I like to direct
because I can
experience the freedom of
working on my own terms.
I have to be patient for
that opportunity to come.
You can't always have that opportunity.
In fact, it's a privilege to have it.
It is a privilege that I have because
I work a lot as an actor.
I make a living out of acting and
I work a lot as an actor,
which allows me, at times, to pause
my life and pour myself into a topic
that concerns me with total freedom,
but also with total commitment.
I can do that from time to time
and, hopefully, I will be able to do it
more and more often.
74SSIFF | We Are Naza Too
03:52
74SSIFF | Weichen (Dust) - kafea
21:03
74SSIFF | Body of Glass - kafea
22:27
74SSIFF | El mal hijo - kafea
17:14
74SSIFF | Esta soledad - kafea
22:45
74SSIFF | La ilusión de un verano sin fin - kafea
20:26
74SSIFF | Jaleos - kafea
28:25
74SSIFF | Tender Loving Care - photocall
01:32
74SSIFF | 5 minutos más - photocall
01:40
74SSIFF | Heart of the Beast - photocall
01:48
74SSIFF | 7h40 ce matin-là / Milo - photocall
01:17
74SSIFF | El castillo - photocall
01:21
74SSIFF | Jurado Oficial - photocall
00:59
74SSIFF | Gala del cine vasco - alfombra
02:01
74SSIFF | Brad Pitt - alfombra
02:28
74SSIFF | Naomi Watts - alfombra
01:43
74SSIFF | La bola negra - alfombra
02:33
74SSIFF | Gala de Clausura - alfombra
01:17
74SSIFF | Gala de Inauguración - alfombra
01:27
74SSIFF | Geister - entrevista
08:17