Optical effect, de juan cavestany, refuta from tourism to the mortadela passing through the own concept of identity. We are dissatisfied beings and now, with the pandemic and so restrictions, more. Right now, it is pending almost everything: it’s a film, it’s still with the work of prostitution in the slaughterhouses in Madrid and travels to grecia to start a shooting with nelly reguera.
Yes, as soon as the 11th of April is finished with the work flight on the 12th atenasque we rolled in a refugee camp. P. What do you think that prostitution must have had the tickets sold out since practically their premiere before the confinement? R. He already had an incredible success at the beginning and at the turn of the lock has been the same.
It is curious because it has generated so much expectation that people come to the theater in fear of being disappointed. P. data say that spider is the country that consumes the most prostitution in Europe. R. what it says about us is that the presence of women in everything is already a fact.
When we started doing the show a year ago, the spectators went into the theater talking about the prostitutes, now they talk about women. The subject of prostitutes was treated as if it were an isolated problem and now it looks like a problem within what women live. It’s a problem with the situation of women.
And that is there in many ways: with violence against women, by gender-sensitive policies. The characters we interpret speak of the mistreatment they suffer, the freedom to keep their profession. And all that encompasses them as women, not as sluts.
And the men who come to the work what do they think? R. I also think they feel guilty. They feel that they are moved by conscience, the conscience of citizens.
On the other hand, there is also male prostitution, but they, the fuckers, do not suffer the stigma of women. At this time you appreciate even more being an actress in order to intervene in the debate that already exists in society. I think of when I was making a hoax, a cock miguel, curiously also carries the word bitch inside.
P. Speaking of laminated voices, I think of Carrasco dew, how do you see what it has provoked? R. I think it’s a testimony of a mistreatment at a time when the woman is being asked to be brave, to speak, to shout, to say. Then, everything that has happened, without getting me to judge the motivations of one and another, is very positive.
It causes the same thing as a theatre function, but we’re talking about a TV and a chain that everyone sees. When you see things in living flesh, you believe it, and that’s what the testimony of Carrasco dew does. P. the place in which it happened, by unexpected, made it more relevant perhapsr. a very curious thing happened.
When she appeared, as a public character, there were countless jokes in chats and that. And then, he gave you an axe that you feel like an asshole. And when you see them of flesh and blood suffer, they disarm you.
P. spoke at the beginning of the expectations with which his work is seen. The director of his latest film, Juan cavestany, maintains that we are programmed by capitalism to consume without stopping, to be permanently dissatisfied. The pandemic has led us to that in a very sharp way because life has suddenly become a permanent dissatisfaction.
It must be clear that to make joys more joyful you have to wear a stick from time to time. But I feel a very lucky woman who fortunately lives from what she wants to live. Now that the restrictions prevent us, the film seems prophetic.
The film was thought before all this happened and the covid has made it make another sense. P. Is comedy the most extreme way to name tragedy? R. I have to say I’m not a comedy spectator.
I think the relevant thing, more than comedy, is humor. A drama can have a mood and that’s where I feel comfortable. Comedy makes you have to laugh at the face of your face and that makes me very nervous.
It’s the same thing when they tell me jokes. I don’t get it because it looks like you’re being forced to laugh because if you don’t, it’s too bad for you to tell. I don’t get any of that “a comedy of.”
Buff, I tell myself, you have to laugh, and that makes life very conditional. Even in the most extreme situations of pain there is humor. P. Do you regret having made a comedy then?
On the contrary, I distinguish very well comedy because I have made very good comedy. I’d have to be an asshole to think I had something wrong with what happened to me.