“Perhaps the greatest challenge – and I hope that is seen on screen – was to subtly show the complexity behind its apparent superficiality,” he tells us. Ferrari Fiorella about ‘Susan’ from Un mundo para Julius, which hits theaters this year directed by Rossana Díaz Costa. “I understood that her frivolity and lightness is a way of avoiding pain and meeting the demands of a social environment that demands a lot from her, that ‘pecks’ her, that prevents her from delving into it. Susan’s idea of a woman is poor, she has potential for more. In another context, she would have put that sensitivity at the service of others and of herself ”.
Apart from the political crisis due to the second electoral round, De Ferrari responds to us by mail about the Lima oligarchy, the social differences and about the character created by Alfredo Bryce Echenique. “Many things have changed, others not so much. I want to believe that today’s Susan, with her financial privileges, would have a career and probably a master’s degree. It would not be dedicated exclusively to meeting social events and having a ‘nice house’. Due to his purchasing power and the Lima customs that we still maintain, he would have support at home. But upon arrival from her workday, she and her husband would be the ones to take care of their children because they would understand that care rituals, play and emotional restraint are a structuring part in the construction of children’s identity. She would have a deep commitment to raising her children as would her second husband, whom she would have chosen because he shares the same democratic values with her ”.
Although the writer appeals to irony, the film will inevitably address the dynamics of these relationships, with “beauty and care”, the actress advances. “Perhaps the biggest paradox is how much, with exceptions, they love each other (the houseworkers and the family) and yet they cannot see each other as equals. There is an implicit culture that reminds you all the time that this is not possible. I think Rossana has managed to show the great ethical dilemmas behind an unjust system. It shows the complexity of a system of relationships that we have not yet been able to unravel. I’m sure Bryce could identify all of this. “
The theater and the movie theater independent workers had been addressing inequality, corruption, machismo and other pressing issues in Peru. Ferrari has been part of some of those projects on the tables. “Art gives us the opportunity to delve into what makes us uncomfortable. It is in the tension that some form of truth is found, something that exists for us and that needs to be shown, shared, that cannot be only ours. I think that the encounter with art helps us to better understand the other and brings us closer ”.
Childhood, something that has not been talked about enough in a pandemic, is another of the great themes of the film, agrees the actress and educator. “As a society, we have abandoned them. Our boys and girls have been putting off fundamental aspects for their development for a year or so. We will pay for this irresponsibility later. We have not lived up to your rights and needs. These contexts often reveal what is a priority for a country. For ours, boys and girls are not yet a priority. Hopefully, with the new intersectoral budget for early childhood, this will change ”.
How important has the female gaze been in the direction?
Rossana understands Julius, wants to show the contradictions, paradoxes and injustices of the system of which he is a part and which will forever mark his identity. I think that women have historically cultivated the ability to weave, to connect seemingly dissociated aspects and reveal them. Rossana does that in the film and in doing so does justice to Julius, the boy, because we understand that he is a victim of the system. But, at the same time, he anticipates the future, the possible man full of deficiencies that he will be and the contradictions that will possibly continue to guide his decisions.
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