Having your film attend the Malaga Film Festival and that it also opens the competition is “fantastic” to relax and have a few drinks quietly without the pressure of competition. That’s what a hard-fought director is like Daniela Wigerman and “newbie”, Elvira Lindoif the adjective fits a woman who was a screenwriter and occasional actress, although her fame was gained through literary writing.
Figerman and Lindo performed on Fridays in the Andalusian city “someone take care of me”, A movie made with four hands starring three women. Maguy Mira, Emma Suarez and Aura Garrido, Grandmother, daughter and granddaughter, who play three actresses with varying success, with some initial rivalries and generational envy they will finally be able to direct them down a path of understanding. In addition, Lindo is also preparing to release his new novel “In the Wolf’s Mouth” (Seix Barral) on March 29.
The author recalls that in 1998, at the time when the festival was just beginning, the producers of the film “The First Night of My Life” by Miguel Albadalejo, for whom she wrote the script, invited her to participate in the press conference: “Some journalists said I didn’t paint anything there ”.Things have changed in more than two decades, not only because Lindo is now the manager, but also because of the great prestige that commerce currently enjoys.Is it necessary to clarify that the story “Someone Who Takes Care of Me” stems from an unpublished story by the writer? In fact, there is no text written by Lindo that does not come from one of his stories.
“In this case – says Wigerman – Elvira came to me with a story of about 20 pages that she thought could be made into a film and we worked together in this way and with such involvement, even thinking about who the actresses could be, and the actors, looking for inspiration on the streets of Madrid, which In the end without bringing it up at first We found ourselves making the movie togethers & rdquo;.
Like Woody Allen
In the past, many producers would tempt Lindo to jump into directing, but she never made an effective move until she wrote the tale and knew from the first moment that there was cinematic power in that story about those three women,” but, just in case, he consoled me by saying that this might It ends up being just part of a storybook, while I remember that Woody Allen thing: I’m writing a book, but if they give me money, I’ll make a movie.”
Aura Garrido is Nora, a promising film and stage actress who has just been offered the lead role in Chekhov’s The Seagull. She is raised by her grandmother (Magoi Mera), once a great lady of the scene, due to the neglect of her mother Cecilia, also an actress but with much less luck, who is swept away by the turmoil of the 1980s. The main title in rogue amusements, now not fashionable. “The movie is about how you transcend reality,” Lindow explains. All three learn that age allows us to be more empathetic towards others.. A certain distance helps us understand that the mistakes we blame on our mothers are the same mistakes we might end up making ourselves. We wanted to say this without making a value judgment, because humans are not perfect.”
the most complex
Of the leading trio, aside from the fact that the film focuses on the young Nora, who accompanies the viewer while discovering some family secrets, perhaps the most complex character is that of Emma Suarez. “That all three dedicate themselves to the theatre,” Wigerman explains, “makes everything happen in a highly focused emotional space. The commercialism makes it particularly expressive and allows it to drop far fewer filters.” And there’s Suarez, the most afflicted by life, the one who stands at the center of gravity of the story. “She has to deal with age and feeling left out in life, It is reflected in the evaluation of others, when inside you still feel as if you were 30 years old.
The character also helps filmmakers, young in the ’80s, tackle a particular generational image they feel very close to. “Women of that time—Fegermann—keep pieces of the past and set free with a great desire to live and break away from the idea of motherhood as an exclusive devotion. Rivet is beautiful, because it is a topic, that of imperfect motherhood, that is very fashionable today and has been thought about a lot since the publication of his book “What I Have Left to Live” in 2010, Inspired by Premature Motherhood: “Our generation has been less thoughtful. Now I correct the proofs for a new edition of this book and read it again, surprising myself with the things I dared to do, happily disinterested. I did much wrong, lived your youth and at the same time raised a child.” Now there are things that don’t seem acceptable to me but anyway, I can say that given the result it didn’t go badly either.”