The Civil war and the difficult years that followed her are "one of those issues that are still practically taboo in Spain." This holds the actor Asier Etxeandia. And he says it with some authority after having immersed himself in the matter to embody one of those irreducible guerrillas who fought to overthrow Franco until long after the end of the contest that bled the country between 1936 and 1939.
From the hand of the director Alfonso Cortés-Cavanillas, Etxeandia displays its best performing arts in
, premiere this Friday throughout Spain. It is a historical drama as a thriller and in western code.
The Civil war and the years remain a practically taboo subject in Spain ”
The Bilbao man gives life in the film to the combatant Anselmo Rojas, who after losing his hearing in the sabotage failed to a bridge becomes one of the most wanted men by Franco's army.
The story, based on a comic
David Muñoz, set in the call Reconquest Operation of the 40s, when the Communist Party and related forces unsuccessfully planned a popular uprising and massive counterattack on Franco's troops, through an invasion of the Aran Valley. The project failed because the Spanish population "was already very tired" after three years of war "and wanted to rest," says the director.
Etxeandia confess to The vanguard What happened "terror" in preparing the role of the guerrilla, who is precisely a character mired in fear and isolation. "Almost nothing I had learned served me for this job," continues the actor, "and I had a hard time, very badly, when faced with the interpretation."
Etxeandia confesses that the paper gave him so much vertigo that he spent two days with a fever of 40
The vertigo caused the actor “a fever of 40 During two days". But the dread also helped him. “I entered the role precisely from fear. Because fear is what Anselmo Rojas has and also what I had when I agreed to interpret it.
However, he clarifies, all the anguish suddenly hit him as soon as he started shooting. "That always happens to me," he says. So the drink was worth it. Not surprisingly, his performance is one of the strengths of Deaf, maybe along with the refined sound of the movie.
Cortés-Cavanillas conceived the work as "a metaphor for lack of communication" which, when it reaches politics and becomes extreme, can lead to war
Cortés-Cavanillas conceived the work as "a metaphor for social incommunication": a constant that for political purposes translates according to him into a dire lack of dialogue and, from time to time, leads to war. "You have to always listen to the other," he says. In DeafAnselmo Rojas "cannot listen" for obvious reasons and the consequence is that, even though he is a good person, "he only generates badly for the people he loves."