Carla Simón: You have to rethink the model. When movies are made with money, Spanish cinema traveling outside

Carla Simón (Barcelona, 1986) is happy. She has plenty of reasons and the gold bear through her film Alcarrassno is the only nor maybe the most important of a

Carla Simón: You have to rethink the model. When movies are made with money, Spanish cinema traveling outside

Carla Simón (Barcelona, 1986) is happy. She has plenty of reasons and the gold bear through her film Alcarrassno is the only nor maybe the most important of all of them. But that is another matter. Now what matters is the golden statuette not exactly beautiful that from about 8:30 pm-night-night Berlin Wednesday she belongs to him by law.

The Acuna, kisses her, lift her in Vilo and, in fact, she is happy. "Everything has happened too fast, I have not had time to get nervous. With this festival format where everything is compressed, as I got up I have spent all day with the interviews for the international press. At some point they have called us of the organization to tell us that it was convenient to go to the gala. But nothing else, "he recalls, he takes a second and follows:" Just before arriving at the Berlinale Palast, my producer María Zamora has asked me if I had thought what was going To tell you to go up on the stand, and no. As the prizes were going, I was getting slightly nervous. And I remember that when they have read the prize of the best director as they first made a description of the film, I was convinced that they talked about 'alcarràs 'And no, it was Claire Denis to which I adore. And then another. And another. There was only the golden bear and I was there. No prize. " And she laughs. And she does it exactly the same as we imagine he would do a bear before they gave him the golden carla. That everything will be.

Carla Simón prefers to take distance with the historic adjective that has quickly cuba around her achievement. It was more than 30 years since nobody got what she. And until now, she also tells, everything had been gentlemen. Saura, Camus, García-Sánchez. Martínez Lázaro ... "Things are really changing. This past year the golden palm and the golden lion and the golden shell, everything have been women. The disproportion between the number of directors And directories is huge, but I see change. I see, for example, the younger generations and no longer ask for permits like perhaps we did. What is needed are referent, models and if I have to be one of them, enchanted ", He says, Calla and concludes: "We are progressing." Adequately.

The story of Alcarràs is known. There the director has family and knows it closely. Unlike summer 1993, the starting point, being deeply personal, is not strictly autobiographic. She was a work of professional actors by hand and at the same time in collision with a girl's eyes that, to her way, was herself. This time everyone is natural actors, not exactly anterprete of themselves, but almost. The strategy is to make the truth come from one's truth in a virtuous loop at the same time totally invented and reliable with reality almost ill. It is a set of mirrors that by force to reflect the reflection itself ends up portraying us all. "It is important to note that Alcarrass's family is not a real family, each actor is from his own family and his own people, but now and after movies, we are already a family," he says doing good comment of a Of the protagonists at the press conference: "We were very little and in the end we went a lot." And so much.

It is cinema in favor of emotion, the truth and, if necessary, the cinema itself. Against the famous algorithms maybe? "Yes, no doubt", nod. "As I understand, the cinema is more than anything a search, you do not know what you are going to find until you do not get to it. And to achieve it, do not value the formulas or the schemes previously learned ... nor the algorithms" , he concludes.

Be that as it may, and for scary old vices, Alcarràs is an atypical production, it would be said that only in the approach let's say artistic and in the other: the most pueril, the economic. It is Spanish production, but it is also Italian. "This has served to work with more budget, we have to rethink the model and scheme that associates the author's cinema with the heroic, it is important to make the movie you want to make, not what the circumstances leave you. I think it's interesting that the movie of Isaki and mine have been here. The two have had a little more budget and ... it has been shown that when movies are made with money, the Spanish cinema of author travels, "he explains with the same clarity that wheel. Without complexes, with a high look.

It is clear. Clara Simon and the golden bear of her.

Date Of Update: 17 February 2022, 08:09

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