‘Cardo’, the dramas and excesses of the ‘millennial’ generation


Ana Rujas, in an image of 'Cardo'.

Ana Rujas, in an image of ‘Cardo’.
Atresmedia

Javier Calvo and Javier Ambrossi saw Ana Rujas in the play ‘The ugliest woman in the world’, which the actress had co-written and starred in, and as soon as they left the theater they knew they had to propose to do a project with Claudia Costafreda, screenwriter and director with whom they had worked on ‘Veneno’. They were convinced that the two could make a good tandem to develop a story that would stir the public. They would act as producers, getting involved in many creative aspects and accompanying and advising them throughout the process, but without interfering in the plot that both wanted to tell. The result is ‘Cardo’, a series that Atresplayer Premium premieres this Sunday, November 7, a crude fiction, very explicit in the scenes of drugs and sex, which addresses the existential emptiness of a thirty-something who an accident leads to a spiral of self-destruction.

“I have felt that emptiness at some point in my career and had the need to tell it, although I have seen that it collects the pain of more people,” explains Rujas, who reserves the complicated role of María, the protagonist, who due to her drift Towards the abyss it might remind you of the Rue de ‘Euphoria’, in the cane version. Both the actress and Costafreda acknowledge that in the series they have overturned many personal experiences, but also of their environment, and that the series can be the portrait of a generation, that of the ‘millennials’, and at the same time anyone who sees it can feel identified. “The emptiness and pain is something that everyone knows and that does not have to do with a generation, but with some feelings,” Rujas emphasizes.

Explicit sex scenes

His character uses sex and drugs to escape, falling into excesses that will complicate his life. The series is very explicit in those scenes, with several full nudity. “We are committed to the way we think is the best to tell the truth and be honest. That is why it was absurd to censor,” says Costafreda. “We have to normalize bodies, genitalia, sex, and that does not have to be obscene or out of place, but it is a reality“, he emphasizes.” That it is not talked about does not imply that it is not happening. And here they talk about it, “adds Ana Telenti, who plays Eva, the protagonist’s visceral friend and” her faithful squire who is always there no matter what happens. ”

The cast also includes two newcomers such as Diego Ibáñez (the singer of the group Carolina Durante) and Clara Sans. She, as “Maria’s roommate who knows perfectly what everyone has to do, even if things are not so clear to herself” and he, like the boy “shy, nervous and a bit posh“The protagonist will approach out of guilt. Veterans Yolanda Ramos and Alberto San Juan have more secondary roles but, above all, he is key in the plot of a series that brings up the issue of abuse.” I don’t know I tried to portray a concrete abuse, but the abuse in general in which society puts us since we were little. In this case we see that María, from childhood, without choosing much, ends up making decisions that have to do with what the world expects of her, “Rujas points out.

The multiple meanings of the title

María’s lack of self-esteem was one of the reasons for baptizing the series as ‘Cardo’, but not the only one. “The title refers to how the protagonist looks, a girl who has been a model and an actress, who is beautiful, but she feels disgusting. It also refers to the spikes that that flower has, considered ugly and on top of that, yes you are careless, it can hurt you “, reveals Calvo. “The thistle represents something bad, that nobody wants. But if you look at them, they are beautiful. It is like the toxic things that we have inside, which can become beautiful,” adds Ambrossi. The play on words is completed by the fact that María has decided to give a hand to the owner of the florist shop in her neighborhood, Carabanchel, to try to refloat your business.

The religious symbolism is another of the most characteristic elements of ‘Cardo’, almost ‘kitsch’, where small pictures of saints, processions and a dream scene with a very particular virgin appear as metaphors of faith and hope that the protagonist is losing. “When things are so bad, you just have to pray and see what happens,” justifies Calvo.

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