• Series Ambrossi and Calvo leave behind the remora and stigma of 'the Javis' in the unbridled series 'The Messiah'
  • Interview Los Javis: "We have an atrocious fear of death, we wish we had the faith we don't have"
  • Especially at night: The Stolen Children in Francoism, a Political and Poetic Cause (****)

Lola Dueñas (Madrid, 1971) tells us that she takes an olive tree with her to her new house in the Canary Islands. His olive tree. From Lisbon to the land of his great-grandfather, the famous Rubio de Telde, champion wrestler, with his olive tree. "I have inherited the strength of my family. I have incredible strength," he says. And we believe it.

She says that the olive tree has been with her for a long time. So much so that on their skin (there are trees that, like Tolkien's Ents, have skin that doesn't bark) it's not difficult to see the scratches of each of their cats. So much for Robert Mitchum, who lived 21 years of pure grace. And a little further down, Miguelito, who was a street man and carried with him all the diseases of the alleys. "I feel, well I know, this year is very special. It's the year I've learned the most. I have been cured of all fears. Well, almost all of them. Some remain," he says. And what was Lola so terrified of? "Above all, I was terrified, and always has been, that they wouldn't want me. What's more, I was so scared that even though they told me they loved me, I was convinced that they were cheating on me," she replies in that voice that is always on the verge of breaking, always one step away from scratching, like those of her olive tree, like those of her cats.

Indeed, this could well be Lola's year. On the big screen, her role alongside Ana Torrent in Sobre todo de noche, by Víctor Iriarte, marks her out as the actress who has always been profound-gestured, permeable to the point of suicide and visceral very close to simple immolation. In it, she plays a mother, but a mother without a child, a stolen mother. The film tells the story of one of those mothers who, during the Franco regime, was suddenly and in the most unfair way completely empty.

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Carmen Maura: "My left wasn't this aggressive and nasty... If you can call this unfortunate thing of today a left."

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Carmen Maura: "My left wasn't this aggressive and nasty... If you can call this unfortunate thing of today a left."

"I'm not a mother, but I think I have an inordinate maternal instinct. A lifelong friend, Guillermo, always reminds me that as a child he always said that all he wanted was to have many children. And another director friend, Ramón, says that those of us who don't have children are eternal teenagers. I don't know, sometimes I feel like a mother to all the children I see, to all the children in the world," she says. And we believe it.

After traveling and living abroad, I have come to a conclusion: as my father used to tell me, the best of the best is Spain

But Lola is also Lola disproportionately in The Messiah, the tragedy on everyone's lips by Javier Ambrossi and Javier Calvo. And here, too, she is a mother in the most unbridled of attitudes. "Just before I got here, a woman stopped me on the street to give me a hug. He told me that I had to do it, that it had made him happy... It's very beautiful what's happening with The Messiah. Look, I've worked with Almodóvar, with Amenábar, in France, in Argentina... Well, where I'm noticing the noise of being an actress the most is with the role of Montse, which three actresses do." And why so much euphoria? "I don't know. I imagine that love is capable of doing these things and these (for Javier and Javier) are all love."

Lola Dueñas is back, we said. And it's not just about his return to Spain after his time first in Paris and then in Lisbon. In a very short time, he says, he lost everything. Or almost. Come back from the loss. "I don't take the death of the people I love very badly," he says as if nothing had happened, taking a second and laughing: "But I don't have anyone left. No one else." Yes, Lola is capable of laughing out of pure sorrow. His father, mother and sister died. And they did it right away. "My mother died just before Mostly at Night. I remember that I had to leave a film in France, the only one I've ever left in my life, because I couldn't take it anymore. I'm glad I did. It's a good thing I did."

Lola Dueñas.Bernardo Díaz

Her mother, it should be clarified, was María Navarro, a theater producer, and her father Nicolás Dueñas, an actor like her. "I've seen José Pedro Carrión make his debut and Ana Belén play Elena in Tío Vania. I know all the dressing rooms of all the theatres in Madrid," she recalls proudly and, she confesses, she remembers with pain. "I had a difficult relationship with my sister, but we adored each other. She got sick and it was clear that we loved each other. I miss them so much. Every time I do something, I dedicate it to them and I'm really sorry they're going to miss out on the best." And he laughs.

He says he admires France's fascination with culture. She remembers that as soon as she arrived, a neighbor gave her a box of chocolates with a note: "It's an honor to have her among us." In Portugal, on the other hand, it was quiet. "Anyway, after travelling and living abroad, I have come to a conclusion: as my father told me just before he died, the best of the best is Spain. We beat our neighbours by a landslide," he says enthusiastically and without the need for reasons. "Why, just because." And is there nothing that worries Lola about this Spain that is so tense, altered and polarized, whatever that means? "Well, yes, I'm disturbed by the violence I notice. I'm worried about the violence and the lack of a head. I don't understand how there can be people who haven't made any progress. I see young people who don't know anything about what happened here say certain things and I get scared. But sometimes I'm relieved to hear them. The extreme right must be allowed to speak because they sink on their own as soon as they open their mouths... But there's nothing quite like Spain. And it's not an opinion, I know." And we believe it.

-By the way, with age, do you mature or do you get old?

-It's good to age on screen. Who said fear? I haven't done anything to myself and I won't do it to myself... Snow and that's it.

And having said that, he runs his hand over his face. Not a scratch. Or, perhaps, all of them. Perfect. "I'm as strong as my great-grandfather." And we believe it. The year Lola has just begun. With his olive tree.

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