Elena Manrique: The greatest saved secret of Spanish cinema portrays the miseries of the Andalusian higher class | Culture | EUROtoday

Madrid’s Elena Manrique has labored, as an govt producer, in among the nice momentazos of Spanish cinema of the twenty first century: The labyrinth of the faun, the Kovak field, the orphanage, cell 211, che, kiki, love is made o The leap. So it is likely one of the nice secrets and techniques of the nationwide audiovisual: the business is aware of who it’s, the general public doesn’t. The different nice secret is his age. “By God, put fifty and plus.” Nor beneath threats will reveal the info, a need that matches her with the protagonist of End of occasion, His first function movie as director premiered in Salas, though he had beforehand made a medium, Cinema reality, reality (2013), for the #LitTleCretfilm digital initiative, a manufacturing mannequin that promotes movies for its free premiere on the Internet. End of occasion, Released two weeks in the past in cinemas, it’s the story of the connection between a Sevillian abolengo girl, her maid and an immigrant who sneaks into the hacienda, an actual turkey mansion included, along with associates, passenger lovers and neighbors there recognition (and catch crumbs at their events).

However, Manrique suffers from impostor syndrome. “I had written another script, but I broke with my partner of the last 15 years and the confinement arrived. I threw myself into another story, ”he begins. The syndrome, which has silenced in levels (first, as a result of it entered the Belén Atienza manufacturing, which is behind the works of Ja Bayona; later, the passage of its libretto by way of totally different European script laboratories, and eventually the prize for greatest course debutante within the final Seminci de Valladolid). “On the trip it has become clear that this lady in her Andalusian farm is understood throughout the world, because we all suffer the hierarchy of classes …”. And it begins with laughter: “It is really very Mediterranean, you can imagine Isabelle Huppert in a villa in Nice. On the other hand, when Aki Kaurismäki speaks of immigration, it comes out Le Havre. I suppose that power dynamics are different according to characters. We are Rinconte and Cortadillo, always Berlanga. ”

Now he laughs with the anecdote, however because it was a co -production with Belgium, the postproduction slowed down, till they completed the half from there. Per week after Manrique completed off the movie, together with his first title, and with the total credit, he suffered a horrifying derailment: “The film was called The party is over, Already the seven days of finishing it, Alvise Pérez founded his political party with that name. As I am very good by making predictions, I said that I would not get a vote, that nothing happened. What an eye … it hurts because it is also the protagonist who says ‘the party is over’. The title had to be changed. ”

Manrique attracts the verbal submachine gun. Remember that when, after having been subsequent to Jimina Sabadú with two movies, within the first version of #LittleCretfilm, a sponsor entered and within the second harvest there have been no work of administrators. “Know? We are accustomed to indifference towards women’s work, which is as beastly as discrimination. But that, that you expect from the big industry, happened to us with such a project indie… Things have changed, and at least I feel that there is an attempt to be aware that a diversity of voices is needed. ”

He also thought he was going to debut in the direction much earlier. “Today, with my age, I can’t direct something, however one thing that I really feel I’ve to inform.” And he is very aware of his position in Spanish cinema, and his forts. “I studied art history, my film is aesthetically careful, I have used many references, as in the pool sequence, where they appear Nenufares of Monet. Or Baroque echoes. ”

What is an executive producer, Manrique’s profession? “I really like to set the example of architecture because it is a profession where the artistic, economic and many disciplines are together. An architect does not have to know everything about material resistance, there will be an engineer, a glassmaker, a carpenter, a formwork, gardeners … in the cinema, if the producer is the promoter, who puts the money, and the director The architect, I would be the foreman: I will make the work be done in the agreed deadlines, without getting out of the budget. And also adjusting to what the director asks. ”

The director returns to the fauna of End of partyand the actress who stars in, Sonia Barba, along with Beatriz Arjona (Alone at night) and Edith Martínez-Val (The jump). “Sonia went through 30 tests. I made him suffer a lot, but I needed to be very sure who my carmina would be. By the way, Sonia was in my mediable. ” Carmina is capricious, pija, bipolar, manipulative, tendentious, arrogant, accustomed to people dance. As an absolutist king, he hopes that the people entertain her, to cross the crowd between flattering and kisses. “Sonia is a person who has a very special physicality, a very special way of speaking, is very elegant, and above comes from the performance. It dominates your body and the public in an impressive way. It is very long and you would believe that it could be ducky, and not at all. Above, he belonged to a punk band, where he played the battery, so he understands very well the beats, The rhythm ”.

Has Manrique known to many carminas? “Yes, but I think, in addition, we all have some carmina, or some carmin, inside us. I have a friend from the university, who is now a doctor, who is not Carmina, but comes from a Sevillian people very close to where we rolling with a very carminil. And every time I went there, I spied them. I am Parlanchina and voyeur, And I was also born in Madrid from a family in northern Spain, that is, those Andalusian carminas felt very distant. My friend gave me access to a fascinating world. ”

The director says goodbye waiting for “everybody understands that it is a satire and a criticism of the hierarchies of energy, to the imaginative and prescient now we have in regards to the different.” And he develops: “I also wanted to talk about solidarity between the humble classes, because there is today a speech for the humble classes of very orchestrated confrontation and very manipulated by certain sectors of the press, bloggers, bloggers, Lords Absurds and crazy ladies. They try to forget that popular classes have always been supportive; And at the time that he is no longer a emigrant, but that person has a name and face, that solidarity arises that seems moving to me. ”