Selected by Diversity As a talent for tracking, Zion Cumberda of Spain is building his sophisticated endeavor, “The Rye Horn”, which took place in Galicia in the 70s. After a horrific incident, midwife Maria is forced to flee, and in order to regain her freedom, Galicia has to flee to Portugal, following the path of the old smugglers.
Cambridge studied at the FAMU Film School in Prague and the University of Film and Television in Munich (HFF Munich). Her featured debut of several experimental shorts (“Wild Man Crop,” “Nimbos”) “Arima” received a new wave award at the 2019 Seville European Festival.
“The Rye Horn” was created in the two main labs in Spain, Ikusmira Bariak in San Sebastian and in the ECAM incubator in Madrid, and participated in the TIFF Filmmaker Lab. The project is backed by the Galician publisher TVG and the region’s cultural industry body (Agadic). “The Rye Horn” is produced by Andrea Vazquez at Miramemeira – the company behind Oliver Lux’s undisputed winner “Fire Will Come” – and the director’s own label, Isnatu Ginema. Elstica Films, a nascent distribution company, will release the movie in Spain.
Can you explain “The Rye Horn”?
Maria is a farmer who has a close relationship with her animal, a clay woman who also helps other women to give life with special dedication and care. The main theme of the film is how the ability of women in the existence of children is connected not only with life, but also with death. I am very interested in being born in a mammal way. I want childbirth to achieve a physical dimension further, away from the hegemonic form of representation. Nature, stormy and rainy weather and fauna have a fundamental presence throughout the film. At the same time, in the 70s, a secret world, a time of prohibition, brotherhood became essential.
Interestingly a new wave of Spanish female directors has been set in many high-profile films ড Diana Toussado, Carla Seamen, Meritoxel Colel, News Balas-rural. Do you have any explanation?
I think it’s more of a generational issue than a gender issue. This generation still feels a strong bond with the land. Female directors are also starting to get the opportunity to shoot and it seems natural to me that we explore our relationship with the world, with childhood, with our sexuality or with motherhood as if we were looking at each other for the first time in a movie. Wanting
“The Rye Horn” will provide an existential and personal perspective on motherhood. What is your target audience?
The film evokes universal hesitation and emotion and it appeals to an international audience. I think women, -55-55, can be especially familiar with movies. But its language is much more open to the audience.
Can you mention any inspirational quotes for “The Rye Horn”?
One of the references that inspires me when I address labor is the wonderful and celebratory film “Life” by Artavazad Palesian where he looks at his wife’s pain and sacrifice while giving birth to her child.
Do you think “The Horn” is taking your career forward?
In “Arima” I explored more psychological and casual levels. In this picture I want to know more about the physical, physical and even the dimensions of the animal. I’m interested in deepening the characters ’relationship with space, climate and atmosphere.
What should we expect in your next movie?
I am interested in a busy movie related to life, beyond a certain dimension which is very physical, almost real. The films have been shot in the lead roles of women with their own brands and tempos and with lively, fresh and vivid camerawork.