Irene Escolar: "Criticizing Spanish cinema is old, it's dandruff"

• Interview Irene Escolar: 'Capitalism always makes me cry'

• Venice Film Festival 'Official Competition' or the 'fraud' of cinema in front of the brightest of mirrors

• Cultural policy Independent cinema accuses the Government of bowing to the interests and threats of private television

You have to look for

.

It is not that she lavishes little, she simply does it her way.

More dedicated to the theater than to the cinema, more to being demanding than letting herself be demanded, few actresses define her commitment to her job as well as this granddaughter, niece, great-granddaughter, great-grandniece, great-great-granddaughter and even great-great-grandniece of performers.

We recently saw her in silence and in just a few stellar sequences in

alongside Penélope Cruz and Antonio Banderas.

That, in the cinema.

On the scene, her reign, she shone in

and will soon do so again in '

', directed by Pascal Rambert.

While she lets herself be seen like never before in the latest, diminutive and proverbial prodigy by Jonás Trueba:

'

is a film, but also a provocation.

It is stimulation and radiography.

It is poetry written in prose.

It is a rhyming story.

It is the smallest film with the most disproportionate desire.

It is contradiction and mirror.

To know more

Cinema.

Penélope Cruz, National Film Award for a Spanish Icon

• Drafting: LUIS MARTÍNEZMadrid

Penélope Cruz, National Film Award for a Spanish Icon

Interview.

Ángeles González-Sinde: "In Spain it is difficult to accept those who think otherwise"

• Writing: LUIS MARTÍNEZCannes

Ángeles González-Sinde: "In Spain it is difficult to accept those who think otherwise"

The director

invites whoever wants to listen to him not only to go to the cinema but to reinvent it.

And there is the actress descendant of actresses to take the same offer.

Irene Escolar meets again.

Why is there so little lavishness in the cinema? It's a complicated question.

Let's say that for a long time what I've done is prioritize theater.

On the other hand, the scripts that came to me... weren't well written and there was no looking back. None? The ones that came to me.

And in the theater, on the other hand, there were always much more interesting people and texts.

But whenever there has been an opportunity to do something, I have done it.

Although not what I expected.

I still don't have the feeling of having given what I can give in the cinema.

Although of course there are things that I feel very proud of and I am very grateful for it.

I am thinking, of course, of 'An Autumn Without Berlin' with which I won the Goya and so many beautiful things happened to me.

In cinema, the important thing is yet to come. How is that? I love shooting.

Saying this has been very important to me because I have always been associated with the theater.

It's the label problem.

You are stigmatized in a way and, even if it is not true, it is difficult to fight against the image that is generated around you.

The labels are horrible.

I love doing comedy.

The important thing is that the text has something.

I come from speaking a lot on stage and in

' didn't say a word.

Do you consider yourself demanding? Well, I've also done jobs to eat, but I always try to be selective.

My priority is to learn and be with people from whom you learn, although from time to time saying that it does not mean that you close a door.

I think more about having a long career than simply being the actress of the moment. I imagine that everything she says weighs the responsibility of the surnames Gutiérrez Caba and Caba Alba... All of us who are part of this family have been affected by the blood weight.

Now that time has passed, that I have no obligation to show that I am up to the task, now, he said, I admit that I have always opted for the most difficult thing so that no one would think that they had given me nothing.

Perhaps for this reason, I have preferred the theater where you are very exposed and if you are not worth it, it is unsustainable.

I imagine there was some penance... No, sorry, not penance, but better self-demand.

How would you summarize your profession in a few adjectives? The important thing is to work, be humble, be generous, generate good vibes wherever you are... There is also a responsibility.

I have worked on productions in which the ticket cost 25 or 30 euros.

And, be careful, little joke.

That's a lot of money.

On the other hand, what I learned very early from my family is that this job is very unstable and that disappointment is part of it.

And in that self-demand that you speak of, what is particular or different about 'You have to come and see her'?

What made you decide to work on it? Everything.

It's a different movie.

From the outset, the first thing that came to me and what we worked with was not a script, but a series of ideas, a treatment.

The rehearsals with Jonas were meetings where we talked about everything and nothing... And then we made the movie while we were shooting.

It was a bit: "We don't know what we're doing."

It is not a lucid work in which you cry and expand.

The idea was to find fragility, for everything to sound organic and for everything to make sense. The film has something, I don't know if much, of a generational manifesto, of people who impose themselves to change and of people who refuse to change... If something defines everything is bewilderment.

And that I do feel like something of my generation.

Now we are all asking ourselves what kind of life we ​​want to lead and what kind of life we ​​can afford because of an always precarious work experience.

That's what cinema is for, to ask questions and recognize yourself. Have you had time to consider changing your life? No.

Constantly reformulate things, yes, but I like my life because I like my job.

The characters in the film are essentially conformists.

They accept what they get in a somewhat conservative way... Do you recognize yourself there? Neither I nor my generation are conformists.

We are quite resistant and fighters.

Many of my friends have studied two degrees, one master's degree after another, they speak languages... And then they can't go live in a flat alone in their thirties.

The frustration is enormous. That's why I was talking about conformism.

Earlier generations with less reason were setting the streets on fire. Yes, that's true.

Today was the demonstration for the Audiovisual Law against the Government.

I've been there and there were very few people my age.

Very few young people.

It has surprised me.

But you can't compare, each context is different.

It probably has a lot to do with the fact that we live in an essentially confusing time.

There is a contradiction in this world of appearance between constant frustration and what life has to look like.

Both his film and the demonstration he is talking about are basically, one after the other, a vindication of cinema and culture... Yes, because you have to give value to things that have value.

And culture is very important because it is important to see oneself reflected, because it is important to reflect, because it is important to question ourselves as human beings.

Culture is sharing in community and that is what keeps us from stagnating and continues to evolve.

Culture is the opposite of simplicity and short-sightedness.

And what do you have to say to those who denigrate culture in general and Spanish cinema in particular? The problem is also to educate the public.

I will give the example of the Central Theater of Seville that Manolo Llanes has been programming for 20 years.

What happen?

Well, it has generated an audience that is one of the best and most demanding in Spain.

Not only the Central has educated a public but has taught them to love the theater;

a real luxury.

So it should be.

People have to learn to recognize what is important. What comes to your mind when you hear about the subsidized talk about Spanish cinema? I think that in recent years it has changed a lot and for the better.

The criticism of Spanish cinema has become old, it is dandruff, from another generation.

Younger people are into something else.

I see young people enthusiastic and highly educated.

Enough of so much destruction.

This country is full of magnificent artists, excellent technicians... very good people.

Lately he has produced a good part of what he has done.

Could it be said that she runs away from the interpreter relegated to a passive role waiting to be called?I see it all around me.

There are many of us who want to fully decide what is ours.

Conforms to The Trust Project criteria

Know more

• actresses

• berlin

• Antonio Banderas

• Penelope Cruz

• theater