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“Martialism,” Filmin’s Wicked Series: Sex, Anxiety, and the Existentialist Meme



At a certain cathartic moment in the series Irma Vapeits manager, Olivier Assayas, speaking through the mouth of the character of German actor Gottfried (Lars Edinger) to make an analysis of the moral and ethical climate in which current audiovisual works operate. “These are monotonous, dark and wrong times,” he said wistfully. “Where’s the adventure? Where’s the chaos?”. Loading a table in search of this mess, he adds: “Industry has replaced cinema. Lawyers, big data, franchises, platforms, all of it. But the Independent is no better: he lectures ad nauseam. Cinema was for bad guys and bad girls, like Musidora, like rock and roll before.

It’s the director’s words Miguel Angel Blanca Unintentionally paraphrases during defense Self-defense (Filmin), the sensitive punk series (An oxymoron still possible in 2022) he created Bertha Prieto s Belen Barnes, its main heroes and inspirations. He told us in front of the tape recorder: “There is no bad person in the cinema anymore.” “And then, who is the cinema talking about? For we are all bastards, selfish, sons of bitches. And cinema, who is it talking about? Saints?” Prieto adds to the sermon: “But the sermon is also constant in life. That’s why everything is so boring. There is no longer room for doubt. If you open your mouth, you must be very clear about everything you say, especially being a woman and a guy. When people see two young girls doing a show, they immediately think it’s going to be something feminist. Well, maybe not, you know? “. Barnes adds: Or maybe yes, but not as you would expect..

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In a series, so far, ten episodes, Prieto (the founder of the theater company halo to pou) and Barenys (also known by her musical pseudonym me me Or as a showgirl Rigoberta Bandini) portray themselves as two friends in their twenties, roommates, determined to have fun in self-defense and not let anyone tell them how to live. was the reference daisies [clásico surrealista checo de 1966 de Vera Chytilová]Blanca says. This was a movie about two girls having a good time. Along the way, well, they kill some guys, plant a couple of bombs, and even die, but they still have a good time.”

Automatic fantasy in Barcelona

But the primary inspiration was, in fact, the lively tandem formed by Berta and Belén, here transformed into versions of them that are not as warped as one might imagine. Bethlehem says:We are totally who we are and our personalities are who we are. There are chapters in which we may be exaggerating ourselves, but we start from our truth and attitudes; There is not much separation.” Berta: “We are one hundred percent and it’s foolish to try to ignore that. We’re proud to be who we are. Without hiding the things that slow us down and scare us, that make us complex.”

During the scriptwriting stage, where they flipped situations and ideas and asked for a way to organize everything according to thematically focused episodes, not only petty female revenge or wild acts of self-affirmation arose, but also doubts. “Sometimes they told me things that embarrassed them and I thought it was the best material,” Blanca says. According to Berta, many of the intrigues were “born out of shame: it wasn’t just about showing us how good we are and how good we are when we go out to a party.”.

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agenda he is girls More kamikaze and new generation (Z) includes, for example, ambiguity (which still does not exist) in sexuality, anxiety, meme existentialism, a culture of (false) tolerance or abuse of power in artistic fields. The issues and problems, for the most part, are not exclusive to the generation depicted here: the refusal to see Self-defense for being Boomers It’s absurd. “Our generation had anxiety, but we didn’t know what it was,” says Blanca, the oldest millennial. “I find it amazing that this generation is being called out Crystal When he has the power to discover problems that we didn’t even dare to discover. Prieto: “But that doesn’t solve the problem either. We know how to speak it, we have better constructed emotional speech, but we have no idea what to do with it. That’s what the series is about too.”

From the Punk series to the Pusha series?

constant paraphrasing experience, Self-defense changes credit titles, editing style, or aesthetics with each chapter; A program devoted to mental health, for example, adopts documentary formats, which match the real testimonies from which it is drawn. The form adapts to what is required to be said in each delivery. always fixed An unabashed freshness that will impress some and perhaps alienate others. “Sometimes they didn’t even know if we were filming or not,” Blanca says. “That was the way to shoot. Which helped them be 100 percent.”

Barneys sees the series as a “time capsule” that will allow them in the future to see “what we were literally like when we were 22”. Everything has changed since they finished filming it: they no longer live together; Belén, who is pregnant and overweight, has moved on to family life. “And if there is a second season, it will be very different, because my day is like that. And since there will be new circumstances, they will have to be combined,” he says. Alongside him, Prieto jokes about the imperfect future of this plea for freedom: “The first season is like punk and such, but the second will be a poor series on TV3 that will talk about motherhood and I will have a friend from Gracia.”.

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