In The consequences, Second long work of the director Claudia Pinto, a woman, Fabiola, make an important decision in your life. After the loss of her husband in an accident of diversism, Fabiola decides to flee from his closest environment to solve his duel. Behind, Leave your daughter and your own father, A man tormented by his past, of those who have long seen that he has distanced himself, held, trapped in his pain. But neither Caesar, his father, ni Gaby, Your daughter, They are willing to let her go alone on this trip. The three are directed, So, To the island that was the scene of Fabiola's childhood, A physical and emotional space that hides all the secrets of this family unstructured by calamity. Gaby reproaches Fabiola for his abandonment, While taking refuge in the complicity of his grandfather, César has a pending account with his father, and Fabiola will have to leave herself to put again order in her own life and that of those around her. Background, A landscape. The sea.
The consequences It opens this Friday, 17 of September, in the Lys cinemas from Valencia.
It caught my attention that, in this movie, You set in a fairly complex melodrama, which I think is a challenge in a context in which it seems that, Inside author cinema, Realism always prevails. How this story arises?
Well, look that I think the movie is not a melodrama because, precisely, Melodrama is a genre in which it is about exacerbating and talking about what you feel and emotions, And I think this movie does not do that. In any case, I would say it's a tragedy, more than a melodrama to use. But if, It is clear that it is a powerful drama. I also think that it is still realistic, What happens is that it is an issue that has not been talking about a long time. It seemed fascinating to be able to enter that territory of putting the truth on the table and not looking the other way. Then, The way in which it is counted has a point of thriller, suspenseful, Not knowing, to have to build the puzzle. Y, besides, would have the element of the landscape and the environment that makes this story, that can be very raw, take a different air in which, In many moments, replace the word.
One of the knots of the story is the family as a receptacle of secrets and conflicts. How do you interest this family nucleus as the center of these issues that you address in your movie?
Well, Look. Emotional distances interest me. Already in my previous movie, The longest distance, I was working them. It seems to me that the family is the core of everything, where you find the most essential things. I wanted to tell a very instinctive story, very of the most basic emotions, the fear, The desire, love, And I think the family was an ideal place to enter. In that sense, I think it is a movie that can connect with everyone because we are all children of someone. Before or after, Our families have things under the carpet that are not spoken. The cinema as a mirror interests me. I always say that it is an open window movie so that everyone gets to get and do what they want with it. If you enter that house and in that family, What position would you take, From an emotional and moral point of view?
Two themes that I think nourish the film are the past as a vital burden and the idea of truth. You have suggested it before, But I would like you to investigate them. Where is the truth hides? I mean what we presuppose from others, but what, in the background, We don't know.
Yeah, definitely. One is the inheritance of emotions, what is left in the past, But that is not resolved and that we are inheriting from each other. And then there is what you say about the truth. Why does it cost so much to tell the truth? How far do you lie to protect people you want? Here the lie is justified with protection. There is a moment in the movie in which Carme Elías tells the girl: "Do not tell your mother anything, would sink again ". Then, The father will tell you, "Go and tell everything". There is the debate: If I tell the truth, hurts, It hurts, But hiding it also hurts. Anyway, I do not intend to answer anything, but everyone takes the movie to their home and answers their questions.
I asked you about the truth because it seemed to me that an important issue of the film is how we manufactured an idea of others through what we know or not about them.
Of course, you show it and hide it. In that sense, We worked a lot the idea of surface and depth. Is the face that shows others, And then what really is happening. It was very interesting to work it, From the subtext, With the actors, Because characters almost never really say what they feel. Emotion is expressed with music, With the landscape, With sound ... what you show and what Callas is a very interesting line that the sea also helps us narrate. It's like an eruption volcano. There is always a piece of the volcano that you see, The tip, pero en el fondo está ese magma que está queriendo salir. Es una metáfora de la propia historia familiar.+
Como dices, la película se sostiene en un juego de miradas sobre los actores. ¿Cómo fue el casting? ¿Cómo trabajaste ese elemento del sobrentendido? Yo diría que no es solo una película de miradas. Las expresiones faciales también son muy importantes.
Yeah, a lot. Hicimos un trabajo minucioso de interpretación. Se trataba de crear un clima de intimidad en el que tú pudieras, aunque no te lo digan, saber qué está pasando dentro de ellos. Ahí había varios elementos. First, The interpretation. It's a casting de lujo, the truth. Está Juana Costa, en un registro bastante diferente al que estamos acostumbrados, Alfredo Castro, One of the best Ibero -American actors, María Romanillos who took the award at the Malaga Festival in her first movie, With fourteen years, and Sonia Almarcha, What seems to me a sensational actress, I love. And well, Carme Elias which is a bit my muse, with which I already worked on my previous movie, And of course, Héctor alterio that makes this little participation, It has been a luxury to have him. I am very happy with the casting. I think it is one of the things that can be offered, The fact that it is a well -interpreted movie.
You talked before the island, of the landscape. I have to say that I was surprised because Fabiola, Your protagonist character, flees from their conflicts and tries to look for an exit in that space. However, The island has two faces. Es, at the same time, Liberation and prison. How did you work that concept?
Ambiguity was something that I usually look for all the time. I find it interesting when you enter such human territories, of imperfect beings, As we are all. For example, While she goes out to the surface, While waking up, César sinks. It was about looking for these contrasts. The island, indeed, is liberating for her, But for him it is about returning to a past he fled from. He doesn't want to face his ghosts. That island is neither good nor bad, It is both at the same time. César is neither good nor bad, He is a victim and victimizer, And so with all the elements of the film.
I would like to ask you about the relationship you have, at the cinematographic level, With the island. How have you worked that space? On the one hand, you show it, but, for another, It seems that you hide many things. I would say that, somehow, You secure the viewer's gaze to enter that impression of confinement that the characters feel.
Bueno, The theme of space is something similar. Al Principio looks like claustrophobic, But then it can also be liberating. In the end, When they are looking at dawn, That horizon is also liberating. That's why I was talking about, sometimes, The landscape replaces words. Already in my previous movie, What happens in the Amazon, Space acquires fundamental importance, as a character more that is part of the world proposed by the film. In that sense, The island was very important. Not only was it to see her, It was about feeling it.
I was very interested in photography work. It seems to me that The consequences It is a movie that is very thought for the big screen. I think here the format is relevant when it comes to appreciating certain sensations or not. Now that this conflict is about how we see the things and survival of the movie theater, And relating it to your movie, What do you think of this?
Notice that sometimes I feel that I'm promoting the movie, But also from cinema. I think it's something we have to do among all because, in the end, We will run out of him. I think the cinema has to relocate, But there are cinephiles to which we like to continue going to the room. Returning to the movie, the thing is, When you feel in the room, You see and listen in a particular way. It is no longer just because of the screen size, It's not just sound, but because, for an hour and a half, You let yourself be captivated by a story that, in turn, The others are seeing. This is a movie where many things happen, But that you can complete, ask for you, that needs you, that is participatory. For all this, Although the situation is not the best, We have decided to release the movie in Salas. It does not mean that it cannot be seen on a platform (in fact, It has several televisions), But cinema gives him something special, is where you can really receive history in all its complexity. It's an enveloping movie, magnetic, hypnotic, And all that helps your attention be there, so that you are active to what is happening.
Another topic that addresses the film is the overcoming of the loss. In what sense do you feel involved in it?
Bueno, As you say, Fabiola is a character who goes to the truth, But above all it goes to life. Those are the reasons why Juana Acosta made the movie. Juana has a very vitalist energy, Very close to the island itself. For me it was important that it felt that this woman does not want to be wrong. She wants to take the reins of her life, of his destiny, of his conscience and his emotions, and get out of there. That is why the trip idea seemed important to me, because somehow he is talking about that engine that advances. There is loss, But above all there is profit. They are really desire, desire to breathe. In the end, The movie invites you to breathe.
Although you have already suggested something, I would like, to finish, You will talk to me about that sea as a subject of the story. What relationship do you have with him to have made him such a central element of the film?
I think the sea catches. I have enough respect. I love navigating, But I'm very afraid of diving, It's something I wouldn't do in my life, And the movie starts like this. The broad horizon that the sea puts in front of you generates a lot of attraction, makes me feel good, But when you get under, It gives me a lot of anguish. In that sense, That relationship with the sea is in the movie, That wide horizon idea, but what, below, can hide many things. I believe that the power of the sea is undeniable and in the case of this film is this force that carries and brings. You take things that you want to forget and bring you some memories that you don't know what you have. It is also cleaning. In the film is the rumor of the waves that the silences are filling, As if talking, generating that kind of cadence that makes this trip more sensory. The sea was a fundamental element.
The consequences It is a mostly Valencian production ...
It is a co -production with Belgium and Holland. I am the Spanish producer, but, then, Está Els Vandevorst, What is the producer of Dancing in the dark de Lars von Trier o Where are you going to Aida?, de Jasmila Žbanić, Oscar nominated this year. Within Spain are Spanish Television, To average punt, The Valencian Institute of Culture, Television of Catalonia, With European funds, Dutch and Belgians. But the first aid that the project found were Valencia. I've been here for twenty years, But I feel more Valencian than Venezuelan, I have worked hard for à punt, before channel 9, etc. Everything about the sea was shot in Valencia, Teresa's house is in Gilet, The town where the party is Marines Viejo, Here in Valencia and, of course, The musician is Valencian, The director of photography, Most authors of the film are from here. That is to say, in that sense, It is a fairly Valencian production.
As a fairly Valencian production and living here, I would ask you for a reflection on our audiovisual sector. How do you find it?
I thought about Malaga. Our film won the Critics Award and the Prize for the Best Female Distribution Interpretation for María. But it was also Lucas, From Álex Montoya, who won the three most important awards in Cine area. Then, Chema Ibarra won a mention in Locarno. So, When you start to see what is happening with the filmmakers and Valencian films, you say, "Be careful that there are enough things that are playing". I think there are very brave directors who are betting on having their own language and that will bear fruit before or after. It seems to me that the academy is moving well, Now the Goya come to Valencia, Berlanga's own year ... that is, There is a movement that begins to notice strongly, like that sea in the background that is there and that I am sure that it will bring great joys for the community. I see him with enthusiasm. Look that everyone is very low of energy, But I feel that he is going well and that he will go much better.
