April 16, 2021

Berlinale 2019: Short films in Berlin speak Spanish | Culture

Berlinale 2019: Short films in Berlin speak Spanish | Culture

Two Spanish shorts, in the contest of the Berlinale. And also both very different, in form and substance, with which the viewer gets an idea of ​​the different proposals of Spanish cinema. Yes Suc de síndria, of Irene Moray, belongs to the school of Catalan directors -which in Berlin have always found their deserved echo-, Golden Legend, of Ion de Sosa Y Chema García Ibarra, defends that world in which past and present, costumbrismo and science-fiction are mixed, in which other creators such as Luis López Carrasco should also be included.

Suc de síndria born from experiences as a reiki therapist from Moray, who has a long career as a still photo in shorts and in Júlia ist, debut as Elena Martín's director. The filmmaker stars as an actress in Moray's short film, and is a regular from Berlin, where she studied. In Suc de síndria, Martin plays a girl who spends a few days on vacation in a country house with her partner and other friends. Everything seems to be going well, with the sensuality that emanates from the rest and the countryside, if it were not because she does not reach orgasm. Throughout the short film the viewer discovers why, and Moray finishes very high in a sequence in which Martin devours the camera. "Although it seems otherwise," recalls Martín, "the shoot was relaxed, Irene was very aware of the dramatic arc of the characters and she took great care of me."

Before each filming, Moray directed breathing exercises, tantra and meditation for Martin and Max Grosse Majench, who plays his partner. "So we found a place of empathy, it's a risky job, because I launched, but not complicated," recalls the actress. Moray says they did not rehearse so much, that the important thing was to reach the "emotional path of the protagonist". "I did not want to stay half-way, I had to get a lot of depth," the filmmaker says. "You have to take and bring your actor without leaving sequels," he smiles.

Frame from 'Leyenda dorada', by Ion de Sosa and Chema García Ibarra.enlarge photo
Frame from 'Leyenda dorada', by Ion de Sosa and Chema García Ibarra.

The idea came to him one afternoon, and he wrote it off. "It connects with my work as a reiki therapist, there are many women around me who had difficulty reaching orgasm with a man or had suffered abuse, just by reading the press many times you shudder. healer of love ". Did it help that at that moment of the shooting the protagonists were closely linked? "He helped in many parts and not in others, having a relationship of great trust and of many years with the other helps you to touch intimate subjects without anyone being uncomfortable." However, when working with such sensitive material, there were times when the small conflicts of the daily relationship could take another dimension and interrupt the flow of the shooting, "recalls Martín.

Golden Legend, by García Ibarra (The disk shines, The attack of the nebula-5 robots) Y From Sosa (True Love, Androids Dream), moves in another imaginary, full of subtle references and cinephile winks. A priori it seems that we see a day in a public pool, but on the screen there are messages and tributes that the directors explain happily: "They have been like a vacation, we have had a great time and we have worked together in a fluid way", says De Sosa . From the same title there is a tribute to the director that has most influenced García Ibarra: Luis Buñuel. "Lorca recommended a book, which according to the translations is Golden Legend or Golden Legend, of the 13th century Dominican of Santiago de la Vorágine, who collects the lives of saints and in which Buñuel found his inspiration for Simon of the desert. " That's why there is a girl photographing a book that she sends to a certain Luis B. "Actually, this short speaks of a miracle, of someone who walks on water to save a drowned man", both remember. "It has a lot to do with the ex-voto paintings of the churches, because we've made a cinematographic one here."

The short also hides references to "the occult, the devil", through an image of Antonio Anglés, responsible for the crime of Alcàsser. "We have built a spell, an atmosphere in which they are falling asleep, and in which even the virgin intervenes." The mystical moment was from the beginning, before developing the script. And for that reason, they teach, on the mobile, a map of The Milky Way -Buñuel again- in which they have been inspired so that a bathers remember the virgin Mary. What would Buñuel have liked about the short film? "That sounds bad, because we made a squeaky sound, but he loved his disciples a lot, so we would like him."


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