Daniel Guzmán, the Man-Orchestra of Spanish Cinema, closes his road trilogy with ‘The Debt’ | Culture | EUROtoday

Daniel Guzmán arrives (Madrid, 51 years outdated) as a whirlwind to the interview and can go like a hurricane to a different encounter. His third movie as director and screenwriter, Debt, that additionally co -produces and co -star, on Friday inaugurates the twenty eighth version of the Malaga Festival, and the discuss takes place 4 days after the projection, with the filmmaker ending the copy that may take to the Andalusian metropolis. Actually, it manages the identical tachycardial rhythm as your thrillerby which the protagonist, Lucas, a kind of virtually 50 years, battle on a number of clues: he lives with an outdated lady on an residence that may evict them, seems for the cash that saves them and not directly commits a homicide by means of which he’ll enter jail. To counterreloj, Brega to unravel all the issues by embarrassing much more in a relentless road for a unbuttoned and chilly neighborhood.

With a tea within the hand, Guzmán, first actor and later winner of two Goya awards as director, talks in regards to the struggling that entails finishing up a 5 million euros of price range and with 68 places (in an creator’s movie, they’re often half). However, he explains: “I do not like self -pity. I have come here to play and there are a number of rules of the game and risks that I have to overcome. What is difficult to lift and make a movie like this? Obviously, it is a film with great risk, and I will not assume it again, but I am not as a victim. I make the cinema that I like, I am independent, I assume those dangers. And if not, I would roll orders and other films. ”

But, was it ever thought-about giving the main function or course, abandoning its function as man-orchestra? “Well, the story starts from my experiences with my grandmother and what I saw in a health center. In the end all the films that I make are born of their own experiences, and of course, I know them so much, that I throw myself. Of course, I do tests, test and work a lot in a kind of laboratories with my cast partners. ” Above, he had an older lady, Rosario García, who left each morning of his residence to movie. “Charo had to take care of her and, as is obvious, for her age she worked only a few hours. It has been …. ” Guzmán heads and thinks. “… complex. Passage of victimism. ”

Guzmán reaches the heart of the movie, guilt. And his character carries with different faults, who confronts the people with whom he crosses – papers played by actors of character and prestige such as Susana Abaitua, a bleak Itziar iTuño, Mona Martínez or Luis Tosar – and those who involve. “All are echoes of different aspects of my personality, of feelings that house me, as my relationship with my grandmother, who fed In exchange for nothing. I close a circle, probably in a more personal sense … although it is true that I say goodbye to a character that spins the trilogy of In exchange for nothing y Canallas. That is why I am incarnated by the same; I told myself: ‘I know this character, I know how I am going to defend him and connect with the public. ”

The filmmaker is verbalizing emotional material that has been larving in his brain for months. “It is the first interview I do, I am finding the words. For example, is it The debt a social movie? It can, because a narrative engine is gentrification. What sinks in guilt? Yes. Talk about people who are looking for life on the street? Yes, and we put ourselves in place before criminalizing them. But, above all, for me it is a love story between two characters of different generations and those that we do not even know what relationship unites them. ”

The director laughs when his creative freedom is compared with that of the character: “It can be good or bad, of course. Think about the ball of Match Point, Woody Allen. The ball hits the tape of the network and sometimes falls in a rival field and desire and sometimes on your own court and lose. Or in the crime: it can go well, it may end in jail. It happens to me by making movies, and it happens to Lucas. ”

Guzmán continues: “To me it seems to me a great film engine, because in its Judeo -Christian conception it paralyzes us and makes us feel victims of ourselves. And it’s terrible. Let’s not forgive ourselves, we don’t accept ourselves. The guilt also concerns that idea of ​​meritocracy, that people are what they want to be. Not much less, people are what they can be. The fault is another tool for submitting the personnel, especially of the patriarchal society. And we have to make mistakes and accept them to mature; although from acceptance, not from Christian penance. ” All that, and in different aspects, shows in its relationships the Lucas-Daniel of the film.

And that is why their referents are urdidos filmmakers of thrillers or other genres with social portrait features, and that play with that letter of guilt, although passing it through another religious sieve. “Look what Ashhar Farhadi does or, above all, Thomas Vinterberg in films such as Celebration, hunting u Another round. What do they talk about? Of blame. And yet, how they surprise the public! And how they roll! ”

Before the farewell, one final reflection: the road. Guzmán grew up in Aluche, a employee neighborhood of Madrid outdoors the Almendra of the M-30. From teenager a reputation was made as a graffiti artist (it was storm). The road nonetheless burns inside. And in Debt, Lucas walks on tumultuous sidewalks, accelerates her future by apples and blocks of blocks with brick facades seen. “It is where the stories occur! If you stay inside the house, don’t make cinema. As soon as you step on the street, everything happens. ” And she is thrown.