Daniel Guzmán: “The fault is fascist, it controls you and does not let you evolve as a person”

Daniel Guzmán the neighborhood leaves alone. It doesn’t matter what he directs, he always sneaks. For him, the cinema is in the streets. In normal people. The one that takes the bus, not the one in a Mercedes to work and lives in a villa on the outskirts. He showed it with his address in the direction, In exchange for nothingwhere telling the life of a 16 -year -old boy who learns in his neighborhood, where if not, to be an adult before what he should. There was also a neighborhood in the picaresca of Canallas, His quixotic comedy that mixed reality and fiction with a character as implausible as real.

And there is, obviously, in The debthis third film, which arrives on the horn to inaugurate the Malaga Festival. Guzmán, a perfectionist, has been riding until the last moment to tell a film where he talks about guilt, but above all of a broken system where an old woman of 90 years can be expelled from her home and in which, when the mechanisms of social welfare do not work, it only remains to resort to crime.

Guzmán began his career as director in this contest. Here he won the Golden Biznaga with his prima opera and then won the Goya for the best novel direction. Since then he has measured each step as director. He could have done many projects, but there was always something in his guts that made him say no and start writing his own stories. And there, of course, the neighborhood comes out again.

It occurs in The debtwhich also stars with Itziar iTuño and his friend Luis Tosar. Although here the shell to talk about everything is a Thrillerthere are threads that unite this movie with In exchange for nothingand perhaps the most obvious is the emotional relationship between the protagonist, a 50 -year -old man, and a 90th lady next to the one who lives in a floor in Madrid. It is not well known if it has a family relationship or if they simply found themselves and decided to become an essential cane to get ahead. She, Charo García, discovered her in an extensive casting where he shows his eye again to find those normal faces that cinema seems to hide.

Guzmán arrives at the interview with eldiario.es. I was checking the copy that will be screened at the inauguration. He leaves nothing to improvisation and likes everything to be in place. Even so, he recovers the air and explains that the thing that the neighborhood comes out is because it tells the life that has had to live. “I tell stories that come from the social. Everything is social, everything is political and everything is part of life, ”he begins.

In The debt There is a very big presence of guilt, an issue that seems “very interesting” and that considers something that “casts you, controls and conditions you, and that comes from the Judeo -Christian society.” “I am releasing ballast. I grow up with critical thinking, educating myself and trying to strip me, but we can’t. The fault is intrinsic in our society since we are born. As a dramatic element it is very beautiful, because the guilt is conditioning. The guilt in the background is fascism, because it controls you and does not let you evolve as a person, ”he adds.

A ‘thriller’ about housing

Everyone is telling him that the theme of the film, housing and vulture funds is “superactual”, but he doubts it. “Gentrification has been 50 years. The problem is when you condition the development of a country at the service of brick and tourism. That takes people out of the neighborhoods and makes their identities, their referents and their roots lose. Now the tension for the house has reached a moment that is unbearable. I remember that 15 or 20 years ago you went to Berlin and the houses cost 30% of your salary, now you dedicate 70% of your salary to pay the house. That makes people cannot live in a dignified way. But it is a problem that we have been dragging for a long time, ”he says with forcefulness.

Hopefully this movie is seen Feijóo, Almeida, Ayuso, Abascal, Pedro Sánchez, Aitor Esteban … that they see it all and that generates a debate about housing

Daniel Guzmán
– Filmmaker

While riding the movie, The jump published the news that he had been convicted of assaulting the young people who occupied an empty house of their property. Guzmán explains that the house was actually his property, and that some neighbors had warned him that some people had entered it. “It is the house where I lived, where I live when I roll in Madrid, and that I was about to reform to be my mother,” he clarifies about the publication.

“I went to see the kids and told them to leave because it was abode, that it was no house in an investment fund or a public asset, which is where I lived regularly. They told me they wanted money, I told them no, and I went with two friends when we had just played football. There was an open door and an open window. They came out, closed and mosqued. At that time the police arrived. They said they were leaving, that they did not want bad vibes, and that we had spoken. Police told them that they had to report and went to present a part of injuries. They had nothing. There was a trial, they didn’t notify me and I didn’t. So, I obviously lost it. There were 300 or 600 euros, because there was neither injury or anything, ”he explains about what happened.

Finally, Daniel Guzmán decided not to resort or give a press release, as they suggested, because if he showed that he was abode, he could put those people in jail. “That would have gone against my principles and that’s why I let him be there. From there everything has been distorted and a bully has been generated to use it in a political way. I have not wanted to enter, but that is not my way of proceeding. My political positioning regarding this issue is clear. If a City Council sells 3,000 homes to a vulture fund for 10 euros, the people who are on the street have to look for life. I think in this case a focus has been created where there is not, but I don’t want to enter that game, ”ditch.

The pressure of being of neighborhood

With his first short and his first length, Daniel Guzmán had double pressure. Not only release and like it, not to fail. As if coming from the neighborhood made him feel that he had no right to stumble. It doesn’t happen anymore. “At the beginning I thought, but then I have continued free and told the stories that I have wanted in a free way,” he clarifies. Its conditioner, right now, is “perfectionism.” “I am the person who demands the most, at a level that you do not imagine. Then there comes a time when you can’t worry. Now I’m here, enjoying, waiting for the movie to like it. I have done what I could, ”he says.

The things that make him most illusion is that Charo has been able to come to Malaga. “That is unique,” he says smiling. He does not know where that love for the elder protagonists comes from. He believes that it can be for the relationship with his grandmother, who starred in Despite nothing and even achieved a Goya nomination for the best revelation actress. “That is the prize, because then you can’t like everyone, and I can’t condition myself so much. Now I have to check the copy at night. ” He remembers it and re -enters his haste.

At the moment he has refused to accept orders, and it seems that he will continue. “The problem is that you have a story that you need to tell. There I am dead. I go to unsuspected places and I ruin, I throw myself ten years to do it … but as I have that need I am lost. I can’t tell you where it comes from. It is a vital necessity, because in the end the stories that I have are shared, they are my own story, but it is the story of my parents, the story of my friends… ”, emphasizes.

Now start putting the loop The debt And another vital need will arrive, but first leaves a wish: “That this movie is seen Feijóo, Almeida, Ayuso, Abascal. That Pedro Sánchez, Aitor Esteban, see it … that they see it all. That in a pause of a control session they put it on and generate a debate. ”