The 47 was a bus before it was a movie. The residents of Nou Barris, Barcelona’s working-class district, took it to go to the center: it left you in the Plaza de Cataluña, right next to El Corte Inglés, and you could decide whether to go up Paseo de Gracia or go down Las Ramblas before return to an area of the city that, until the 80s, had the humanity of its inhabitants as its only charm. It is difficult to see a source of inspiration there, but the director Marcel Barrena found it, and with Eduard Fernández and Clara Segura as protagonists, the entire story of some people was enough from the neighborhood struggle to get the bus to their neighborhood, Torre Baro. Thus was born ‘El 47’, a phenomenon of Spanish cinema in recent months that does not stop collecting awards. The last one, just yesterday, for Clara Segura, precisely. It was the Cygnus award, for solidarity cinema and values, promoted by the University of Alcalá with a large group of cultural organizations and institutions. “I was amazed,” says Segura to answer what he thought when he found out he had won. For her, the character of Carmen, the nun who hangs up her habits to marry a red atheist, Manolo Vital, “is a gift, it is already a prize in itself.” The film highlights that it is “a fiction based on real events that allows us to focus on struggles and problems that began in the 50s and 60s and remain current.” “We are in a society,” she laments, “in which it is difficult for us to focus on some very real problems because we have too much information,” and films like ‘El 47’ do their bit to change the trend. She is convinced that the success of ‘El 47’ has only just begun, and as soon as it can be seen on a powerful platform “it will connect with many people, because it is the story of many people today, of all those who have arrived at a new place to start a new stage in your life. The key theme is “origins and identity: the origin is maintained, you are always where you were born, but identity is constructed, it changes depending on where you are, on each experience.” Clara Segura likes to travel, precisely, because that’s how experiences are accumulated. Since he approaches all his trips as an adventure, he claims not to have had a “worst trip” of his life. Even the most complex situations end up being a source of knowledge and anecdotes. So far, the worst thing that has happened to him is being blown up in a deflagration caused by gasoline vapors on a boat on Lake Titicaca, in Peru. “It was an old boat, which they started not by turning the ignition key, but by making a bridge.” And of course, sparks flew. “Gasoline had been spilled on them, and when building the bridge…” She was lucky enough to end up on the boat next door. Some companions fell into the water, “which was not very hot.” No injury, no burn: “Typical, the eyelashes are a little singed, but that’s it.” Related news standard No ‘El 47’ surprises and triumphs as the best film at the Forqué Fernando Muñoz awards standard No Filming of ‘starts’ 47′, a film by Marcel Barrena Play Cinema “I would go to Lake Titicaca a thousand times again, and I would take the boat again,” she says with great conviction, thanks to the good memories she has of that trip. Of course, “maybe I would pay attention to whether there is gasoline on the ground, or I would wait on the ground until the engine was running and go up later.” I would also return, for sure, to Torre Baró, a neighborhood that I visited with colleagues. cast on several occasions for the filming of the film. Manolo Vital’s acquaintances welcomed them with open arms, telling them about experiences, anecdotes, and feelings. “There was another Carmen, who even gave us crochet work,” he recalls. One more award under his belt, even if it didn’t appear in the newspapers.
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