00:00What does it mean for you this nomination to the Platinum Prize for Infiltration?
00:06It means a lot. For me, for the film, but especially for the people who are helping us,
00:13that is the Covid-19, all the people of the victims who are behind us.
00:18And we have won the public prize, so I am already a winner because the public is the most important thing.
00:26What was the biggest challenge in dealing with such a sensitive topic, but so necessary?
00:32There were many challenges. First, I am from the Basque-Vasco, I lived in the era of plomo,
00:37the terrorism in its own own, and then to meet the victims of the victims.
00:44When Amelia Mora and I wrote the script, we thought about the attack of Gregorio Ordóñez,
00:49because it was at 3 o'clock in the middle of a very famous restaurant in Donosti.
00:54It was a social crime, and we had to talk with the family of Ordóñez to ask permission to write it.
01:00And suddenly, you find the victims of those victims, you start to see the pain, you start to see all that happened behind you.
01:08And then you know the police that were in the operation, and you know what we were talking about before.
01:13You start to open with the left hand, if you fly the email and you don't give them to the right.
01:20You start to see the brakes, you start to see all the time that your life has turned out of a hilo.
01:24And you start to keep in the Basque-Vasco, a lot of times.
01:27Many, many. I mean, I didn't know where to put the hand on the issue. It was very complicated.
01:32And how was the work of documentation?
01:34Well, it was long and very beautiful, because, thanks to all, it was Pablo Muñoz,
01:41an interior period of those who know everyone in the entire life,
01:45who started, for two years, doing the search of information, talking to all the 12 policemen
01:51that were in the operation, collecting the information of one, contrasting it with the other,
01:56because the memory has passed a lot of time, and it was also the person with whom we presented
02:02to the Inhumane, to the próprio comissary, to the other police.
02:05He was a little bit our documentalist.
02:08But then, the best was to talk to them, with the police.
02:11They said, I was listening to Sergio Polo, I was listening to Kepa, I was listening to Arancha,
02:17I was listening to Arancha, and that's the most important story of all.
02:20How important is it that the young people of today, who seem to live in another world,
02:25know this part of the history of Spain?
02:28Well, it is important. There is something called history memory that we never would ever forget.
02:32This has happened since nothing.
02:34You and I have the memory of Irene Villa when it was released on the television in direct.
02:39I remember that I was impacted.
02:42They don't know.
02:43Even some, as it is a thing of izquierdas, anti-sistema,
02:48they can even believe that ETA was something interesting, and no, they were murderers.
02:53So, I think that remembering our past does not repeat the same mistakes.
02:58And it is very important that the new generations that did not study it,
03:01did not have lived it, they know what we are talking about.
03:04The movie is not the definitive film of ETA, it does not explain the conflict,
03:08but many young people have told me to see it.
03:10I came home and I looked at the internet and looked at what happened.
03:14That was very important.
03:16What do you mean the Platinum Prize for you?
03:20Well, for me the Platinum is like the closing of a whole trip,
03:23that are the last prizes that there are,
03:26and that better closing than this, the Prize for the Public Prize.
03:29Well, for me it is very interesting,
03:32because it also allows me to connect with other people from other countries,
03:35from Iberoamérica,
03:36where I think they are going to be very bad in the cinema,
03:39countries that are suffering from courts and censorship,
03:45but that have some techniques and some wonderful ideas.
03:48And here in the Vieja Europa,
03:50we are perhaps more tranquil in that aspect,
03:53but we have to realize that everything can happen,
03:56that we have to be prepared for anything,
03:58that we have to fight for the rights of the cinema,
03:59which is always important.
04:00How do you see the role of the women director in the industry?
04:04Well, you know, you know.
04:05But you know what?
04:07I think there are more voices,
04:08and we are more interested in the audience,
04:10and we are more interested in the audience,
04:12which is also important.
04:14The Infiltrata is one of the most tech-year-olds of the year,
04:18and it is a masculine thriller,
04:20supposedly,
04:21a very testosterone genre,
04:23made up by a woman.
04:24And it has liked the people.
04:25So I think that, well,
04:27they are Laudar,
04:28they are now in Cannes,
04:31they are Carla again.
04:32We are telling many things very important to women,
04:35and it is about the 50% of the population,
04:37and it is the time to listen to how we live our lives.
04:42What time do you see the Spanish cinema?
04:44I think it is a very good moment.
04:46The Spanish cinema is also demonstrating
04:48its international character.
04:50The Infiltrata is now,
04:52that has been released in Uruguay,
04:54it is in Seattle,
04:56we are doing very interesting things,
04:58and finally I think there is an apostasy to the history,
05:01more than to the taquilla.
05:04And there is a combination of history,
05:07more taquilla.
05:08There is 47,
05:09there is The Maestro Que Prometió el Mar,
05:12there are movies that like Casa en Llamas,
05:15that are not mainstream,
05:16but that are still liking the people.
05:19And they are original stories.
05:21That is wonderful.
05:22Your next project is something very different,
05:25a comedy.
05:26Every day nace a listo.
05:27How many lists have you been in life?
05:30Well, I have been with many lists,
05:32and as a girl, you know,
05:34we have lists for abusing,
05:35a long list.
05:36But if I tell you the truth,
05:38with the years,
05:40one learns that the list that comes to you and says,
05:43hey, beautiful.
05:44You say, yes, yes, you are in the way.
05:46We have that power,
05:47the age does not have that power.
05:48So I think I want to find myself more lists.
05:51If we give us a push and we go ahead,
05:55and the list ends up disappearing.
05:57What can you tell me about this project?
05:59Well, that is a comedy very satirical
06:01and very crazy,
06:03about what difficult it is to be
06:06to be rich working.
06:08You have a pool with a pool?
06:11I do not.
06:12Why do people have a pool with a pool?
06:14No, I should be working.
06:16I am very happy
06:17about the social media,
06:18of the work that is the good and poor,
06:19but what I am most happy is
06:21by the
06:35the most happy that I am.
06:36I am doing with Susi Sánchez,
06:37I am making comedy,
06:38When did you know that you wanted to dedicate to the cinema, that you wanted to tell stories?
06:43I was 8 years old, I went to Maita and said to myself, I want to be director of the cinema,
06:49and he said to myself, well, beautiful, I don't have any contact, this is impossible,
06:54but well, I think the dream is when you really want it, and you put it on your own, you get it.
07:00Thank you very much and that you keep your success.
07:03Thank you very much, very much.
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