Between two waters winner of seven awards in the Premis Gaudí, the Golden Shell at the San Sebastian Film Festival and the Asecan Best Film Award in an ex aequo with Trip to a mother's room, opera prima of the Sevillian Celia Rico has been for its director, the gerundense Isaki Lacuesta, "A cinematographic learning".
Happy about the reception that the film has had, Lacuesta, professor of Master in Creation Documentary BSM of the Universitat Pompeu Fabra, considers that the prizes serve so that the films reach the public and are a means more than an end.
The film, fiction and reality, supposed the return of the director to San Fernando Island, 12 years after filming The legend of timeor with the same protagonists, the brothers Isra and Cheito, one now leaves prison and another on a mission in the Navy.
The filmmaker says that this film has given him learning and the opportunity _firms_ to meet very different people.
"The cinema _sign_ allows you to get in touch with people very different from you and understand how they think, how they feel as they live and coexist."
"This movie is the same as the previous one, which we did with Isra and with Cheíto, The legend of time in San Fernando, they have been an apprenticeship. The legend of time It was not the first film we did, but in it we began to work with the art of portraiture, trying to capture emotions through another, "says Lacuesta.
"This coexistence that we have had, people who were not predestined to live together, I think it has been the most beautiful and most important thing of the learning we have done," he stresses.
These days he has presented his new project, the two-episode Movistar documentary ministry, Under listening The accused with the one who returns to the documentary when dealing with an unsolved crime, the murder of Miguel Ángel Domínguez and his daughter María, 8 years old, in his house in Almonte (Huelva).
He says that when he started in the cinema he thought of it as a more narrative art, as something closer to the story, and that as he worked on the documentaries he realized that for him the important thing was the portrait.
"I have the impression that we are a generation that has arrived at the cinema late, there is a century of accumulated cinema, there is the danger of thinking too much about the ancestors. In the documentary I find a form of writing that forces you to react to what you have before you, rather than predecessors or predefined ideas. I really like that kind of movement, "he says.
"In the documentary you do not get to shoot with a pre-set story. Suddenly you are rolling and things happen that you have to react to and all this baggage that you can carry you use it. It looks a little more like a jazz concert than a music with a score, "he concludes.