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The invisible in general has bad press. And more in the cinema . And more in a world like ours in which everything is an exhibition. What is not seen does not exist. And what does not exist, does not even admit the possibility of a retuit. So sad. And yet, there is no lack who maintains that the truly essential is imperceptible to the eyes. Antoine de Saint-Exupéry was one of them. He and his most remembered character, extraterrestrial for more signs, maintained that there are other organs with more precision in that look: intelligence and, of course, the heart. And Gracia Querejeta, she is also convinced of that. His last film, in fact, attends to the name of Invisibles and all of it becomes strong in the need to refute all the obvious, everything clear, everything retweetable.
"30 years ago, when I was shooting When you return to my side , I remember that Mercedes Sampietro made me an observation that left me baffled. 'You still have not heard, but women at a certain age, we become invisible, ' he said I saw her, so bright, so pretty, and I didn't know what I could mention. But yes, I understand now ... " And in the ellipsis the director leaves what could well be the real reason for her film.
Invisible is the story of three women in their fifties who are embodied by Adriana Ozores, Emma Suárez and Nathalie Pozas. There are three women who every Thursday meet in the morning to walk their doubts, wishes and even the occasional resentment in the park. They walk and while they walk, they talk, they reflect out loud and, if necessary, they argue. And here it is worth stopping. "I have not wanted," says the director, "make the typical film of empowered women, strong women who throw forward whatever ... I already made that movie in Seven French pool tables . It is not a self-help movie and I am aware that it is not fashionable. It will create controversy. These are women like so many others. That is, they are women who, despite being there, are invisible . "
The time arc that covers history is a dozen weeks. Two and a half months tablets in 28 days of shooting. The original idea was to make a series for television . And as such, the script was walking through the offices until he got tired of going around and the idea itself, she alone, decided to come alive in the form of a movie. "I wouldn't know how it happened, but it came up ..." he says.
And how to roll the energetic walk to any part of a group of women? "Well, walking." All scenes run in perpetual motion. Everything walks They walk and walk the cameras. "For a moment, I felt panicked and I was tempted to add scenes in parallel, maybe some flash-back ... But the fear grew so much that I quickly realized that I had to eat it. The film could not betray itself ," comments just before stopping at all the happy inconveniences of a shoot of these characteristics. "Do you know how much you can walk in five minutes?" He asks without waiting for an answer. "Do you know the noise that forms an entire moving team?" He insists.
Indeed, for each answer a complication. And for each complication, a possibility of going a little further, of teaching a little more, of, in short, making visible what really matters . Even if it hurts.
In the park of the Prince in Cáceres, suddenly, there is a world; an itinerant universe of women who walk. Each scene is filmed with that strange mode of traveling that is the steadycam . The camera attached to the operator's body becomes a moving eye that teaches everything. There is no possibility of error or lie. In two moments, the film stops at the face of one of the protagonists . And around it, the world freezes. They are two 360 degree shots where reality ends up becoming transparent.
"I always draw everything," he explains. And he adds: "On this occasion the difficulty was that the rules could not vary. It is always the same, but it has to be read and seen always differently. Before filming, we recorded the entire movie on the iPhone . That was the way to adjust the tempo ".
There are 17 walks in total. Let's say that the whole film lives in the same contradiction of the ethnographer that Borges imagined. The secret of the invisible, said the Argentine character, "it is not worth what the roads that lead to it are worth. Those roads must be walked."
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