Festival.'Hasta el cielo ': Calparsoro masterfully rewrites and polishes the rules of quinqui cinema
Miguel Herrán (Málaga, 1996) has covered the distance between zero (or almost) and infinity (the surroundings of) in just under five years and, like poor Rubashov in Arthur Koestler's novel
El cero y el Infinity is
precisely torn between the glory of seeing his dreams come true and the doubt of a desire that never ends.
Rubashov ended very badly.
It is not the case.
And so far the comparisons.
In 2015, before starting to shoot
In Exchange for Nothing
with Daniel Guzmán, Herrán was a
restless guy whose only aspiration in life was to find some aspiration in life.
Now, the actor who plays Rio in the Netflix series
The paper house
and that the movie opens tomorrow
Up to the sky
at the orders of
Daniel Calparsoro
and escorted by a dazzling
Carolina Yuste,
aspirations abound.
In other words, it is difficult to aspire to anything when, and always on paper, you have everything: the prestige of the Goya (they gave it to him for his first film);
the honor of having met José Luis Cuerda in
Time after
, and millions of viewers and followers on social networks from absolutely all parts of the world.
«You have to get used to everything and you have to tame everything»
he says by way of introduction.
The film that now stars hits the billboards after surprising at the Malaga Festival and does so with the manners and craftsmanship of that old quinqui cinema from the 80s. Indeed, Herrán is a quinqui.
Or, given his position and glory, even a superquinqui.
"He who understands and forgives, where will he get a motive for action?" Said Rubashov.
The one who has won everything with 24 years, where does he get the need to continue?
Well that.
He started with Daniel Guzmán in a film very close to the quinqui cinema and now he is premiering with another Daniel, Calparsoro, a revival and clean-up of, once again, the quinqui cinema.
Are you the new quinqui star?
They are two very different movies.
Guzmán's cinema is more focused on adolescence.
His film talks about the purity of childhood and the passage from there to adulthood.
Ángel, who is my character in Hasta el cielo, has had the opportunity to do things well and chooses the other way.
He starts out at a local auto shop and could have been a mechanic, but when he gets the chance to reach heaven illegally, he doesn't hesitate.
But yes, the two films are quinquis.
One is light, the first, and the second, much darker.
But it has not been clear to me, what is wrong: Ángel or the society that leaves him without options and pushes him to do what he does?
Angel doesn't know what he's doing wrong.
But I, Miguel, I am clear that my character is wrong.
Between entering a drama school and selling a kilo of hashish, I chose the former.
My personal decision, which is not Angel's, is clear.
I have not answered the question if it is considered the new quinqui star ...
My power for these movies and for life in general is that I have a child's face, but deep down, I come from where I come from.
Behind my angel face hides a real demon.
That is my charm.
In my past life I have moved a lot on the street and I know how it works.
My face is a good camouflage.
In my past life I got rid of many.
My colleagues were all greased, with pediments ... And I looked like a kid from the Salamanca neighborhood who had been kidnapped.
Why do good people like suburban stories so much?
The quinqui cinema has always been there because it is part of our history.
We must not forget that a whole generation has died because of that world, because of the horse, because of how Spain was then.
Little is known perhaps.
The young people of Gen Z may not know anything and maybe they should know it because it is part of us.
And then, visually and dramatically, the suburbs are very attractive.
And now that you say you come from the street, how do you see your own past from the height of fame and recognition?
For me it has been a gradual thing.
First the movie, then the school, then the Goya, then another movie, then the series ... and then that of fame began.
I call the other prestige.
But once I hit the ball around the world, vertigo came.
It was crazy at first that I was very excited, but then it turned into crazy that depressed me very much.
It was very bad not being able to leave the house.
Now I have normalized it.
What's more, now I even feel bad if one day I go out on the street and nobody says anything to me.
It is very contradictory, on one side or the other you always have a duel with yourself.
And is that perplexity cured?
We have to learn.
I try to pass everything like shit.
And I get it many times.
I have adapted to situations that I did not frequent before.
I don't care if they look at me or take pictures of me.
But there are still times ... Yesterday I was exhausted from filming, I had to do a thousand things ... but as soon as people recognize you you have to stop.
Fame, I imagine, can also be useful, useful for others, how do you carry the responsibility that comes with being famous?
Anything you say is going to be heard by at least 14 million people according to Instagram followers.
I do not believe that social responsibility should be imposed on anyone for being successful in a facet of their life.
It's like when I hear that people who have money should donate it.
Well, he can do whatever he wants because it is his money and it is his life and it is wrong to impose on anyone what he has to do with his money.
You don't have to give it to social causes.
It should not be an imposition.
No, I do not impose any responsibility.
Of course, I try to help.
If I see a kid that I can teach something I've lived through, I do it.
But because of who I am and what I've lived for, not because of my fame.
Some time ago he said that money is dirty.
Do you still believe it?
I come from having very little money.
That is what I have lived with my mother.
It is true that as I made money I lost many of the objectives that I had set for myself.
I entered this profession knowing that I wanted to act and it is true that, as I grew up, I let myself be fooled.
People said to me: «And how are you doing with that car?
And how do you live like that with what you earn? ».
I avoided it until one day I looked dirty in all that shit.
And I ended up buying a car.
And not because he wanted it but because he knew it represented status.
And that is already ruled out?
Yes. The car did not make me happy at all and I did not like people looking at me on the street or commenting on what the car had cost.
That is dirty, money, in effect, is dirty.
Money is important, but it is not a priority ...
If you have it clear.
Is vigorexia a thing of the past?
Yes, it is a thing of the past.
But the things of the body are always there.
People who take care of themselves and want to look good always have a certain obsession inside.
Everyone I know is in the same situation.
What does it mean to stop being Rio?
Nothing.
I'm going to be sorry, but now.
It has been a four-year process, it has given me a lot, but the stages are about to close.
How do you see that young people are always held responsible for almost everything, including infections?
It is the easiest.
Young people have the fewest tools to defend themselves.
My generation is going through a very fucked up stage.
There is no work and those who are going to see will be very precarious, very poorly paid.
Brand Spain.
Have you had time to regret something?
If he did, he would be a fool.
I come from where I come ... This is a gift.
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