Sebastián Lelio fell at Cannes this year with a music movie Wave ((No), Inspired by the wave of women's civil disobedience that swept Chile in the spring of 2018.
The mass protests and university gatherings, which were raised by the mass desire to attract attention to harassment and extensive assault against women in Chile, are known as “Female Mayo”.
Daniela Lopez plays the starring role in the movie – which first appeared at the Bayer Festival Festival – as a music student joining the case, and haunted by an accident with the voice teacher assistant. She joined the team of actors of young Czech talents, including Polina Cortis, Lula Bravo and Efryl Aurora.
The music movie is Lelio's first movie in his hometown of Chile since its 2017 Oscar winner Wonderful womanWith feature credits between Gloria Bell and wonder.
The pluscinemaz.comwith Lilio sat at the Cannes Festival.
The deadline: I did a lot of female stories, but what caught your attention from these protests?
Sebastian Lilio: I encountered to be in Chile during the month of May. I was very affected by the marches that took place, the demonstrations. The students were walking with masks, some with their exposed breasts. It was a very creative moment. I remember I saw a picture of a newspaper with them all on the street and it is very great and very strong. after Wonderful womanI started thinking about what I can do again in Chile. The idea of using this movement began as a background to explore these topics, using a music film language in crystallization. I thought it was a great opportunity to use music to talk about things that are not enough for her, to mix politics and the scene
Delivery date: release Wave The film follows in the wake of Jack Audiad's music movie Emilia Perez last year. A number of well -known managers benefit from this type of music but a kind of sabotage at the same time. What do you think behind this?
Lilio: We are in a moment in the history of humanity, but also the cinema, where things cannot be innocent anymore. So, if you are going to work within this type, it is almost your duty, not necessarily sabotage it, but to expand it, to make self -perceived novels. Therefore, when it works with the tradition of the musical type, you need to think about this type and why it is used. You need to pay the borders, so it is not the practice of nostalgia for the past, which has been happening over the past 25 years, with some exceptions, but rather now.
Delivery date: The film still shows a number of complex singing and dance numbers. It is different from Emilia Perez The musical numbers interfere with the narration.
Lilio: He is stepping into musical lands, unusually. The thing is the tone. It is more than just finding a way to express things through dancing, movement, movement and singing. This is more than the political Cacophony photography.
Delivery date: This film comes out at a time when you feel that governments all over the world abandon the activity and protests led by students. Do you think this gives the movie an additional resonance?
Lilio: We are going through a violent reaction worldwide. It seems to be betrayal and revenge on all kinds of progress is organized in a very conscious way. I think the pendulum still has a few meters to go in this direction before things start getting more balance again. On the global level, it is a moment when society's demands are known and the requirements of women, which seemed to be extensive for three years, and now it looks like crazy things. This is what they are doing. It is just part of the endless cycle between trying to change the things and the way the authority deals with that.
Delivery date: Have these young Chilean feminists succeeded in making a change in real life? Are you stuck?
Lilio: Yes, or, or I would like to say, maybe “no” and “yes”. The way these things tend to develop is to assemble a certain amount of energy, negotiation conditions, then policy and power move. The movement is usually allocated here, I do not talk about history, not this movement in particular, and then there is a kind of arrangement. Things have the interface of change, but they do not necessarily change. It is a slow process.
Delivery date: How did you find your main actress Daniela Lopez?
LilioWe have done a very large casting process. Some of the largest numbers are 400 people in total. The average age of a woman in the story is about 22, or something like that. They were all very young. It is basically the entire generation of artists and performance artists. For the protagonist Julia, we saw hundreds and hundreds of faces. Daniela only outside the drama school. It is its first role.
Delivery date: If we look back in your movie, you want to tell the stories that focus on females. Why do you think?
Lilio: I found the first exercise I did at the Film School on a little time. I was about 20 years old, who is about four women. I understood that he was always there as a real interest. It was never software. After that, the world changed, and this dimension became more prominent.
Delivery date: She participated in writing the script with three female books of female Manuella Infanthi, Josephina Fernandez and Paluma Salas. How did this meet together?
Lilio. My first intuition was that we need to find correspondence between the topic that we were talking about and the way we were creating the film. It should have been coherent. I called three books so I could write it as a minority, I called the people who really liked, some of them knew more, some of them are less, but they belong to different aspects of the feminist spectrum.
It took five years to finish the text. The first year like them was talking. I will contribute a lot, but it is clear that I was not the person who would have had a lot of things that many and many of them could say … The film expresses ideas and views that I agree with, but it is also similar to political and amazing bodies that give space to many views. It is an analytical picture more than a moment of my little thesis.
The deadline: How long -cooperative composer Matthew Herbert was appropriate for this process?
Lilio: This is the fifth movie we do together, and Matthew had the same question about how to create cohesion. He said: “You cannot just be my grades or formation of numbers.” I suggested that we prepared a kind of musical camps and invited 17 songs. This is where the music came, and where Matthew took many things, from that experience with two large camps. So there is a cooperative, common approach, with a spirit of force sharing.
Delivery date: What did dance designer Ryan Heifington bring to the project?
Lilio: For me, he is one of the dance designers working today. I told him, “We do not have a musical tradition. These actresses are very small. They have no experience. We have never done music films in Latin America, in Chile, so you must work with that. We will not have, like, professional dancers. He said that professional dancers will destroy this movie. He has this approach that everyone can dance. He found ways to make these people, those bodies, change with what they have. To the very professional style of a more traditional movie. There is something more than that about the aesthetics of dance.
Delivery date: The film is produced under the slogan of Juan and Bablo Larane Fabula, with Friemantel and the participants now on the plane as participating participants. How she was working with Larraíns On this movie?
Lilio: It is a dance, we danced before. It is very supportive, but at the same time you realize that you need some space to create something that has a specific uniqueness .. This is our fourth movie together, but the first movie that you filmed in Chile since then Wonderful woman. Working with them in Chile looks like a house.
