Claudia Llosa placeholder image he has taken to the cinema the novel by Argentinean Samanta Schweblin. They both wrote the screenplay for Rescue Distance, a thriller that addresses the fear of loss, freedom and the complexity of motherhood. “I almost use fiction as a simulation to reflect, to go through that emotional process. What worse fear than to be able to lose a child! It is as if fiction allows you to experience that emotion without the hurts. Relearn and rebuild ”, he responds by Zoom. The Peruvian filmmaker based in Spain comments that she hopes to return to make films. “And with Magaly Solier, I would love to. I am always working, it is a struggle, it is constant work. I’m sure I’ll be able to go back to Peru to record ”.
Although he maintains that his cinema was never aimed at “breaking paradigms”, Distancia de salvage shows the fascination between two characters who talk about motherhood, traveling “in its darkness” and in its lights. “It’s like breaking these old preconceptions of maternityThe only thing they do is not represent us, right? It also impacts us on how much rescue distance we have on ourselves, on our dreams, on our ideals and on the planet ”.
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‘Amanda’ and ‘Carola’ meet in an Argentine town, where supernatural events will take place. “We have all felt very clearly, very physically and we don’t have to be mothers to feel it, this feeling of calculating the distance in which I can be looking at her from afar, but letting her have the possibility to explore so that she can rediscover herself, trust herself. And the same as an individual, having the possibility of continuing to grow. Being active and alert… is that balance. It is so difficult! And you always risk more than you should, you know? Or you are in that struggle ”.
Llosa returns to take as themes the rural, the beliefs and also the almost non-existent authorities. “We were talking about that idyllic field, that feeling that all Latin Americans have that in the field there is something healthy, something better, which is where I am going to find the secret of something I am missing, where I am going to find myself. It is a kind of fantasy. Suddenly we find that the countryside is much more industrialized, there is much more danger. It is that reverse that the mirror returns to ourselves ”.
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How close is your cinema to what happens in Peru?
He had to root the place, he had to be in the Argentine countryside. But there was something that interested me a lot, precisely, that it seems that it can be anywhere. It is not a problem that concerns a specific geographical area, no, this can be up to you. And in that sense it does not only concern Peru.
Without calling it a feminist project, it is a tape made by women. Cinema needs more of that perspective to tell stories, right?
We are entering a very positive moment, very willing to listen to many more voices. The minority ceases to be a minority and suddenly finds a wealth, right? And it has relevance. It is not that it was a minority because it was not, but suddenly now it has loudspeakers. It is not that before so many topics were not written, of course they were written, but perhaps they were not published or they were not financed. Just as there has been a great change in women at all levels, I think there is something that represents the symbolic field of the maternal that has not taken the same turn, and that is represented by the laws of many of the countries in our region. There is still a lot to do, especially in Latin America. I think it’s a great moment and we have to keep fighting to give space to those voices, to many voices.