00:00There's a little bit of there's realism,
00:29there's magical realism, there's mythology, there's so many things sort of going on within the
00:35construct of this. Could you talk about your approach, obviously, what it was based on,
00:41you know, the ideas with Mariana, but could you talk about sort of the, you know, the building of
00:48the film, from your point of view, psychologically, but also cinematically? Well, first of all, I think
00:54I should start with Mariana, you know, because this movie, as you know, is based in two stories,
01:02two short stories. And what captivated me is, first of all, is, you know, her literature, actually,
01:09and these particular stories, and these two books, you know, from her short stories. And
01:16what I think it's interesting in these books, or in these particular stories, is actually the tone,
01:22what you are talking about, you know, is, it's, I think it's really, what, what for me is interesting
01:29about her is like the realism, all the world, all what we establish as reality is like really
01:35intertwined with supernormal and paranormal and extraordinary, but like in a disturbing,
01:42but also a pretty realistic way at some point, I do think that we kind of live, or this is the
01:48way that I understand reality, actually, you know, all the reality I live in. So for me, this,
01:55these two things are completely connected. And the movie kind of walks through that frontier,
02:01you know, when you can actually, and that is the way that I actually portrayed the Quarry Lake,
02:07you know, like this portal, you know, this zone, this subtle zone, where everything is kind of
02:13mixed up, you know, and magic is kind of everyday life. It's not something that happened all of the
02:18sudden, or something that is just something that is like start to develop in yourself. And it's part
02:25of your everyday life. And I think that that in Latin America is like really strong. That is why maybe
02:31we are like the continent that of real magic realism, I don't know if this could be magic realism at some
02:38point. But, but yes, completely, I'm completely influenced about with with that kind of literature,
02:45also, you know, us, for example, when, of course, you name Garcia Marquez, if you talk about,
02:51you know, but I will also talk about your Casares or Borges, you know, and, you know, this is,
02:57I think this is kind of our territory, and the way we experience life, you know.
03:03So that is why for me was so interesting, you know, you know, to magic to be something that
03:08is part of everyday life, and you can actually you cannot pretty much define it. And that is,
03:15that is why I was pretty interested in the Marianne Enrique's horror stories. And because she take,
03:20you know, and for me, it was important to take like, everyday horror and everyday violence in the
03:27way we experimented as kind of raw material to use it for horror language or for general language
03:35at some point.
03:46And I just can't stop my fascination.
03:54Oh, you, but I feel like me in deep position I just can't stop this fascination
04:00Oh, you feel I'm in deep position
04:04Oh, I just can't stop this fascination
04:14In my head I'm in contradiction
04:20because it comes out obviously and i'll get to you for a minute about about the the character
04:33but first i wanted to sort of talk about the trinity the trio of girls and how you know they
04:39they sort of create they're all part of one whole obviously nat is is at the top of it but can you
04:46talk about building their personalities and how they intertwine because they again they're all of
04:52one mind but they're all separate ideas of that so that is exactly the way we portrayed it with also
04:58with diego denorio who is the the photographer of the movie and for me you know because i but because
05:05it's also a 2000 movie and it's the movie happens during the 2001 and because uh it's pretty
05:11biographical at some point you know because i would be the age of nat i am the age of natalia
05:16actually i'm from the 82 and i would be 19 years old during 2001 for me it was really interesting
05:22like the pop references and i you know so i thought in that way about uh to portray like witchcraft
05:33you know in in this story so i would that so that is the way that i want to portray these these three
05:39girls because i also think that between so that is why they are treaty and that is why there's like
05:45this kind of pop witches which is something really transcendental but also you have like
05:50the the references of a movie that was like kind of a big hit when i was a teenager it was named the
05:56craft you know it's a yeah yeah you know uh so i do think that everything is mixed up and i also one
06:03big reference for me in the way to portray these girls it was the holy girl of lucrecia martel
06:09and the way she kind of picture this girl you know this really close up where you know yeah
06:14yeah that were that were the references and i would reference that i talked to diego
06:19if you see in the movie they always portray exactly that you say like three minds but maybe
06:25one organism at some point you know it's okay it's okay if you say yeah one body yeah one body yeah
06:32sorry uh sorry excuse me no it's all right that that's that's an illusion in a different way
06:40yeah sorry that could have happened you know so that is why you know because you have the
06:46and the pagan witchcraft and the way we understand and we you know uh we live uh and we thought about
06:53witches here in our country but also to have all these pop references you know and to portray them
06:59at this like pop witches at some point but and and they connect between each other without speaking
07:05you know so that for me is kind of witchcraft and female friendship is pretty you know uh the way we
07:12develop and we we kind of relate with each other and it's particularly in that age you know we're so
07:18symbiotic at some point you're like same the same energy so yes that is the way that i uh and i thought
07:25that is kind of a witchy thing you know
07:55well that's why the and i'll go over to you fernanda the yes with sylvia that's why
08:15her like the first time you see her in that room with all of them she's like the conductor she's
08:22she's almost medusa in a way i would think you know because it just use a mythology reference just
08:28because she's been everywhere she's seen everything and yet she also is almost up against something she
08:36doesn't quite get which is sort of an interesting way to play it uh for that can you talk about
08:42looking at her because you have to play her realistically and yet be aware of all these other
08:48elements that are circling her in the film could you talk about that and finding that in her yeah sure
08:54that was very interesting for me the opposing forces between her past and her broken state
09:06uh for reasons that we don't know just her uh she's older than these girls and uh diego and she
09:18we don't know why she's so lonely or why she has the need to insert herself in this very adolescent
09:27group or much younger group but she has the need of the validation because she's so f***ed up inside she
09:38has uh been through so many uh sadness and difficulties in a very immature way we don't know when she's gonna
09:48mature we don't know when she's gonna mature when she's gonna thrive but she doesn't she can't dare
09:57herself to evolve so she keeps repeating this state of i'm gonna teach you because people of her age
10:04are gonna easily see through her you know and she needs to be in this in this group of of younger
10:12people so these two forces for me were very enriched to work with because it was the inner pain the inner
10:21shame that cannot be shown but it has to be shown a little bit for for you no a bit um you don't know
10:31her intimacy you never see her alone she she's there to orbit uh natalia's world and and um penetrated
10:41in a very disturbing way but sylvia doesn't have that intention with her she she doesn't have um
10:51malicia i don't know how to say it malicious she's there she's not doing it yeah i get you wow she
10:56she would she would to herself all of it she can be very sylvia can be has destroyed herself many times
11:05but not she she doesn't have that intention she really wants to be
11:08some remembered by this group of younger she wants to be accepted in a way weirdly enough wow
11:17in virtue of my santo bautismo apoyado en la palabra de dios
11:33yo con el poder de la preciosísima sangre de jesucristo rompo destruyo cualquier maldición
11:49hereditaria que venga desde cualquier momento de la vida intergenérica de este hijo de dios padre
11:56well that's why that phone call and i'll go back to you lord that's why that phone call and
12:13just focusing on natalia's face just as you can tell sylvia's just trying to say look i know i took
12:20your boyfriend but this is how it is you know and i like how there's so much a lot with this dialogue
12:26and a lot with how it functions there's so much going on beneath the surface can you talk about
12:31directing that because you can say one thing and you know have another thing going on with the
12:37exception diego diego is like the the innocent in certain ways which is funny but can you talk
12:43about that and finding those so transparent you know it was full transparency you can see through
12:48diego diego is going through you know life as he is um well you know i have this two really this is
12:56this is of course a women's story and these are this like these women that are also you know uh
13:02fernanda and dolores who are the actresses they're kind of you know really strong actresses kind of you
13:07know forces nature you know she came out so strong but for me it was really because i always think
13:13that during the scene the most interesting things are the things that you are that the actors are
13:19not telling that the characters are not telling that for me is the key for a scene to be interesting
13:25and to be deep at some point so the way to direct that because of course that was a really harsh scene
13:31but a universal conflict you know there's like of course some someone broke your heart at some point
13:38you can completely you know emphasize with that you can you live i live that and i know
13:42you know the audience if you've been in life through a period of time you know you how go through that
13:49you know at some point to to to get your heart broken to have kind of sign of uh competencia how to
13:55compete to another one to want to be to compare yourself to another one and that is so strong you know
14:03during you know adolescence and when you're a teenager but you also but natalia is also like
14:09the leader you know and she's so cryptic and she doesn't talk out loud about the way she feel
14:15you know that it's completely the opposite of sylvia you know at some point so in that point of view
14:21this was that you know sylvia is completely yes of course she is broken inside but she's sincere
14:27you know and and when she talks to natalia she is sincere but of course there are all these subtle
14:33things that happen even when you think you are fully fully honest you know that was for me what
14:41was interesting you know the ambiguous thing about that that dialogue and what happened between between
14:47these two girls you know what they are saying what and what and what they are not saying and for me
14:53the way to direct that we have a lot of rehearsals you know and we and we have a lot with with them
14:59and i was so lucky because i get to i that is something that is not common at some point but i get to
15:05rehearse a lot here in argentina with this group gang and then of uh we were so lucky that we have to go to
15:13shoot and fernanda come to argentina and stay with us for like three two months you know and live with us
15:21and she also live like argentinian and she always talk like argentinian so the way that because we
15:27are all with some good food some good clubs
15:29yeah
15:30good clubs
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