Prison security officer Juan (Roberto Alamo) man of a few words: In fact, in the first four minutes of “Josephine”, he said nothing because the film fills us in our daily routine.
It’s a tragic, lonely existence of biathic detail: the film begins with a frontal shot of spin-dryer turning: some things seem more ordinary. And when he finally wants to talk, a woman, following the message (Emma Suarez), whom he spies for jail one day on the bus, opens her mouth but stops to talk.
Barta’s son is spending time in jail. Why visitors never find out. When Juan can finally talk to the message,
Terrified, afraid he will let her go if he finds out she is a guard, he claims he has a daughter Josephine, he is also a prisoner.
This is the main set-up of “Josephine”, which is the subject of situational comedy, but was played as a drama, albeit spread with a touch of humor.
Miguel Bernardo, co-star of “Elite” fame as the son of Barter, “Josephine” director Javier Marco and screenwriter Belon Sanchez-Arvalo’s special debut, the duo of the Spanish shorts scene, for their latest 2021 Spanish Academy Goa win. ” Their “Miro Por Volver” won the best shorts at the Tarazona, Reykjavিকk, Astorga, Fascart, Sax and Moscatel festivals and the 2019 Madrid Short Prize and AMA Awards.
“Josephine” is an executive selected by two up-and-coming forces to produce new talent in Spain: Sergei Moreno in White Leaf Productions, whose 2017 “No So Decker Adias” Best Actress for Natalie Pozar in Goa and Promoter and Producer Rosa Garcia in Feature So Dickie’s Adias “and” La Vida Yuga Eso “, Transylvania Fest Best Actress winner for Petra Martinez. Feelings drives international sales of content.
Put through the Madrid ECAM Screen Incubator, as the first or second features are now challenging for the big fest berth, the “Josephine” world premiere earlier this week in San Sebastian’s prestigious new directorial division.
Diversity Talked to Marco and Sanchez-Aravallo after the premiere.
In the first 58 minutes of “Josephine”, neither Juan nor the message says too much. The scenes are not so indefinite as incomplete. It leaves the audience to guess the actor’s gestures, activities, costume-message mega-dude jerseys এবং and miss-n-scans উদাহরণ from Juan’s apartment to the character’s feelings, for example. Such descriptions are of course movie material. Can you comment?
Marco: Their home costumes and decor complement the characters and help us understand them and the moment their lives have arrived. In Juan’s case, we can understand his unintentional loneliness, his sense of attachment to his family’s past, even though his parents are no longer with him. And to understand a life full of Berta’s slightly worn clothes we think about others about our profession and ourselves. Each story allows the listener to complete their lives without the need for words or without knowing the moment the characters are in. Luckily we had a great crew who were able to channel all these feelings through their work.
Direction also puts a lot of pressure on actors, so it’s crucial to have two of the best actors of their generation, Roberto Alamo (“Riot Police”) and Emma Suarez (“Julieta”). What role did they play in character building?
Marco: Emma and Roberto have contributed a lot with their vast experience and talent, giving life and soul to the characters and their appearance, their voices and their acquaintances with their movements. Working with them is really a special opportunity. They were always very involved throughout the whole process: before filming we were lucky enough to spend time in rehearsals. From the first sentence they read together, we noticed that there was a lot of chemistry between them, something that can be seen in the picture and their connection is also based on both of their characters.
Juan and Barta both seem to be waiting for life to happen করতে to meet someone with whom they can share their existence and recreate family feelings. This is certainly a very modern problem. Again, can you comment?
Sanchez-Arivallo: We can say that “Josephina” is related to the human need to overcome loneliness. Both Juan and Barta find themselves at a point in their lives where isolation leaves them behind and they have to find someone else to connect with. And when faced with this, they do each other in a certain way, probably because of that need they had to connect with a human being.
Cruelty and eventfulness play a brilliant role in the film. It would seem to be the end of an exuberant drama for many in a final environment. But maybe I’m wrong ….
Sanchez-Arivallo: A philosophical phrase in a sugar rock that Juan’s colleagues read every morning in remorse refers to what is happening inside the prison. A car that breaks down just when you need to meet Juan and the message. Or a vacuum cleaner that seems to avenge Juan at the most inopportune moment. All of these somewhat casual details try to create a somewhat surreal melody with the reality of “Josephine”. An exuberant drama? We want the viewers to make up their minds while watching the film. But for us, two people with the same emotional deficit meet only when needed – it’s positive and somewhat optimistic.