There is a prostitute leaning on a telephone booth from the ones before, from the door, aluminum and glass panels and with a blue telephone inside. In spite of the cold weather between the trees in the park now that the sun has set, everything she wears – fishnet stockings and little else – teaches meat, except for the white heeled boots, which a while ago were in box 90’s shoes from the wardrobe department. That box was between two others, 80’s shoes Y 2000 footwear, and now it’s almost empty. Its contents dress about twenty prostitutes like ours, transsexuals, noventeras and immobile, each one supported by its tree. A smoke machine thickens the fog in the distance. It is not a Disney scene, but to be a recreation of transsexual prostitution in the Parque del Oeste in the 1990s, it is a beautiful, even placid image. As taken from a dream.
This dreamlike tone, in the Casa de Campo, has to reconcile two worlds. On the one hand, that of Cristina Ortiz, the best known transsexual with the nickname he acquired among the prostitutes of the Parque del Oeste for his character and his viperine language: La Veneno. That name kept him when, almost by accident, he ended up in 1996 on the set of Tonight we cross the Mississippi, a late night Telecinco: his sleaze, swear words, insults and sexual references, and his exotic beauty fit perfectly into the wild west that was the newly born private television of the nineties and gave him a memorable 15 minutes of fame. That world has to be understood with another apparently antagonistic one: that of Javier Ambrossi and Javier Calvo, the directors, scriptwriters and presenters who have created a definite mark between the goodism they showed in OT 2017 and the sentimental postmodernity of phenomena Paquita Salas Y The call. Poison, which recreates Ortiz’s life and premieres on March 29, is his new project.
“As much as the story seems different, I saw it and said:‘ This series is ours, “Calvo promises in a filming break. Around her, prostitutes comment on their clothes between puffs on cigarettes. Ambrossi, next to him, completes the idea: “I see myself in the story. Success, fame, what gives you, what takes you away, go back to the icons that inspired you, those that gave you opportunities. ” They are themes that I already played Paquita Salas, His most emblematic work. But Poison It is bound to go further. It is the project of the year of Atresmedia, where they trust that they have enough pull to upload subscriptions to their new payment platform, Atresplayer Premium. And they have paid. In the cast there are 132 actors; 200 participants per episode, in the team there are 150 technicians.
There is another issue at stake. Poison It is the most transsexual series in Spain. For the story it tells and for who tells it. In the cast there are dozens of trans actors. On the other side of the camera, they are in all departments (except in hairdressing, dressing room and machinists). Cristina is played by three trans women: Jedet, 27, plays her in her youth: she is the most famous, has several singles and a record, and a book. Daniela Santiago, 38, plays the “Empowered Poison”: her glory years on television. It is her first role as an actress: she used to do the night “or something fashionable”. Isabel Torres, Canarian actress and presenter of 49, plays Poison in her last years, decadent, alcoholic and fat.
It is the first time there is so much dramatic material for so many trans on television. “The public will see that the soul of a trans girl has nothing to do with what they have seen before,” promises Santiago. “The one who gives you this opportunity, to show what you have always wanted to show and you have not been able to, that will jump off the screen.” With them are Ester Expósito (Elite), I wish (GH 14) and Goya Toledo.
The LGTBI perspective is the heart of the project. The one with Veneno, like Boris Izaguirre’s, was one of the first faces queer who entered the halls throughout Spain, thanks to the late nights. His presence, while not political, and certainly not refined, accustomed millions of people to a hidden reality until then. To other transsexuals, he showed them that there were people like them. “The series talks about pioneers, and how in communities like ours, having no information, the stories of people who have come and have broken their faces before we help us find our identity,” says Calvo
The myth of Poison that this series intends to underpin is as beautiful as it is difficult to verify. “We spent a year researching his life, with his family, his friends,” Ambrossi warns. But the script is based on the biography Valeria Vegas wrote with Cristina: I say! Neither whore nor Santa, full of the fables she made about herself. There the writers found the grace. “That people do not wait for Wikipedia,” says Calvo. “It is important to remember that we are putting together a story, inspired by his life, but that is a narrative. The game between fantasy and reality is more interesting. There is a scene in which she says: ‘There were a thousand whores in the Parque del Oeste’. And so we shot it, as with a thousand whores. Then another one says: ‘What do you say, if we were 40’. And we roll it again with 40. Their memories have a dream tone because we want to give them magic“
“Cristina with 50 years fell asleep watching Cinderella. We mix a lot of styles, but in the end this is a story, “Ambrossi sums up. In the distance, the smoke machine thickens the fog.