The main competition this weekend in San Sebastian, the game “Camilla comes at night,” begins with teen Camilla in a museum, looking at an ancient photo. This is an indigenous Paraguayan girl, Nina Aceh, who was captured by colon colonists, worked as a servant and eventually interned in a mental illness due to her strong sexual orientation, reads the text next to the photo.
Inés Barrionuevo’s third solo feature, “Camilla Comes Out Tonight” asks if the fate of modern Argentine young women has really changed beyond all recognition. At first, as she matured for her age, Camilla moved from her Mar del Plata Liberal High School to a traditional theatrical institution in Buenos Aires, “Camilla” seems to be coming straight to the story of an arrow age when she discovers the city’s cool buttocks- hop clubs, drugs and Clara, falls for a classmate. But when she is sexually assaulted by a male school bully, “Camilla” expands the compass and takes to the streets in protest against Argentina’s Maria Verde Green Tide – Argentina’s abortion laws, some of the most limited in the world. The question is, if Clara, who has already been suspended for calling the Catholic Church a “dictatorship,” will take the revolution back to her own school.
Diversity Barrionuevo chatted with “Camilla Comes Out at Night” at the World Premiere in San Sebastian.
In “Camilla Comes Out Tonight”, you return to the world of teenagers but depict a young man who is a young man of a near generation. There is a sense of admiration in the filming – how Camilla forms a part of the youth who take to the streets to protest and stand up for her morality in her own life. Can you comment?
A generation of Argentines has grown up from a feminist structure, from participating in protests to Maria Verde. This generation of very young girls, who stayed up all night as part of a campaign to legalize abortion, which was illegal in Argentina most recently. This is a generation that I admire and respect: There are many great differences with my generation on the question of conquered freedom. This is Camilla’s kitchen, where this character not only lives in a world of extended freedom, but where there is still more freedom. This is what is happening in Argentina today.
The film is written with your first solo screenwriter, Andres Aloy. What was this experience like for a writer?
It was a satisfying process, with Andres coming and going with the light. Co-writing means you can give feedback to those with whom you are writing about the characters, their lives and habits, as if they were alive … It’s not just part of your own inner depth where the characters fly over your head but are shared.
What guidelines did you have when you directed “Camilla comes out at night”?
Always observe what Camilla is observing and see the world with her eyes. See life the way he sees it. Respect them when building character, be loyal to them. It’s a hard idea to find, but it happens when you hold the camera and feel like you’re treating the characters fairly and not wanting to show them through the effects. Then a simple mice n scan but one that has an almost touching attraction, something that can be touched
You made your debut feature in 2014 with the memorable “Atlantida”. How has Argentine cinema changed since then and do women play a bigger role now?
“Atlantida” seems much earlier now and very innocent. But it depicted a certain time in the 80s in a village in Argentina. Camilla today and now. It was a challenge to think of a generation that is still in existence and is being portrayed without naturalness. [direct] Adherence to what I saw, rather than making my own decisions on this generation.
Women still have a lot to conquer in the world and in movies. But there has been progress in the presence of the labor market and a trend that reflects this. If it gives women work, it is welcome. But there is still a long way to go for women to hold the same position as men and to be equal in working conditions.