A Claudia Pinto The idea of exploring family ties, deep-seated pain and lies began to haunt her when she was going to be a mother. “I was pregnant when I began to write the script and the panic that gave me to do it wrong, to fail as a mother, not knowing how to do it, that my son was in danger and I did not know how to react, that I did not find out about it. From then on we pulled the thread and in the end we have built a story that raises that: how far would you be able to lie to protect the people you love ”, explains the Venezuelan director based in Spain.
On ‘The consequences‘, his second film after’ The Longest Distance ‘, composes an atmospheric suspense drama about the secrets of a family marked by pain and loss. Juana acosta She is a mother unable to manage the death of her partner in an accident at sea and drags her family into an unbreathable environment. His daughter -the debutante Maria Romanillos– and his father -the great Alfredo Castro– narrow while their relationship to try to move forward. When they decide to move to the small island where they grew up and grew up, the wounds, in contact with the sea, fester. “The film moves on very primary emotions, fear, jealousy, desire, love. Entering this terrain is delicious, it is fantastic for the cinema, it is a place to experiment in that sense. He needed actors who were able to transmit with very little. In this film they almost never say what they really think, the look had to tell the truth even if they said something else ”, adds Pinto.
The film plays with the lack of information, with characters unable to verbalize suspicions and traumas. The camera is responsible for focusing, on a slow fire, the course of history. “It is a suspense film, of emotional intrigue, it is not a typical thriller, it plays in another territory that we really wanted to experiment, how to do that”. The film weaves the mystery that this family hides, a murky past that has marked some of its members, forcing them to flee, to lie, to separate from that island where they now face a catharsis. And it puts on the table a debate, beyond the guilt and anger that violence generates, if the victims can reproduce the patterns of their executioners. “The moral ambiguity that the film raises is one of the difficulties. It was about not judging, empathizing, trying to put yourself in the shoes of all of them and create a kind of kaleidoscope so that you would have it a little difficult, to see all the edges. They are not subjects to avoid, but to try to play, and I think the cinema is a fantastic place. Television has other rhythms, with a movie you have more time to reflect, inquire, search, I think it is worth making that effort, making catharsis. It is a movie to watch each other, we need to share, empathize with the one on the screen, feel their life as their own and let you get involved with a story. That is what the film intends, to accompany you ”, reflects the director.
Pinto’s cinema raises questions and invites the viewer to question their own universe, to be a participant in this story about which they have more information than the characters. “I love a participatory cinema, a cinema that leaves space for the viewer to engage with those characters and also position himself in some way in a story that is neither white nor black. It is a story full of grays where in the end the last word is yours as a spectator and it is an invitation. The characters in the film all have the possibility to tell the truth at some point and use it or not use it, that seemed very interesting to me, but there is also a change of point of view in the story, which is what allows the viewer knows more than all those characters. It puts you in a position of power because it forces you to position yourself. Where are you in relation to this, look at your own home too ”.
In an intimate way and sheltered by the landscape, ‘The consequences’ is sustained by the work of its interpreters, the exchange of glances and the weight of their silences that fight against the isolation that has devastated that family. International co-production, shot in Valencia and La Palma, the island, where everything began and ends, also pushes with its dramatic force. “The island is a character, in my previous film I already worked on the Amazon as a place, in this case, because of the story we wanted to tell, I loved the idea of the sea, that it felt in the background. Working on the idea of the iceberg, which only shows a part of what we have deeply, underneath, and the idea of a volcano that was surrounded by sea seemed an ideal place to me. LNature is a character who is a witness to what has happened in this family and it seems that she also wants to expel him, to tell the truth. The sensation of the sea, which can be very frightening, but at the same time very healing or purifying, the waves that carry away the bad and constantly bring the good ”, he concludes.