Interview: Sandro Mairata @smairata
Milene Vazquez He is a constant presence on national television screens, although his filmography in cinema has been rather sporadic. At 48, the youngest daughter of Argentine actress Mabel Duclós and Argentine broadcaster and presenter Osvaldo Vázquez is part of the leading quartet of “Single, married, widow, divorced”, film directed by Ani Alva Helfer in which she shares roles with Gianella Neyra, Patricia Portocarrero and Katia Condos.
Before reaching the two-week premiere, “Single, married, widowed, divorced” has passed 100,000 viewers, beating foreign films, and is emerging as one of the highest grossing releases in Peruvian cinema this year. We spoke with her at the press conference that followed the original presentation of this film.
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—Many Peruvian premieres on women’s issues are coming out. “Single, married, widow, divorced”, “Antonia in life” and there is another one called “From little hood to wolf”.
—Melania’s film (Urbina).
“Exactly what do you think is going on?”
—Look, I think that women writers and directors are being given more opportunity and I also think that there is a need for women to tell stories from their perspective, right? Probably, years ago, the cinema environment in Peru, in terms of directors and scriptwriters, was a masculine place. Things were treated from a more masculine perspective; therefore, I love that this is happening. That the issue can be democratized, because I don’t believe in extremes, you know? I don’t like to talk about feminism or masculinity. I believe that we must reach the right balance and, for that to happen, we must give place to female directors. In this country, there is a lot of talent in the cinema in terms of women.
—In “Single, married…” I see a balance. The male characters suffer, there is a tragedy. How did you discuss what would happen in the story between you? How did they reach agreements?
—As Gianella (Neyra, co-producer of the film) told us, it is a script that Ani wrote with Sandra, her sister. It is a script that came into our hands already complete, but, in the course of filming, we have been modifying things. On this occasion, in the film, as you say, there are men who are stronger and more present like the character of Diego (Lombardi), who is also a father, who helps, who is at home and I also think he obeys to the maturity of all the professionals, to the maturity of the script, to the maturity of the director, of life itself. Art, I think, acting, cinema, is a long-standing path in which one is acquiring experiences in life and is capturing them in your script. So, I think that, in that sense, Ani has also matured and weighed.
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—Above all, because it is a film with very intense moments. They go from comedy to drama. There is a lot of strength between you. Was it easy, was it difficult? Due to the experience you already had or because, suddenly, you knew each other before, did you flow better?
—I am going to speak to you in a personal capacity: it happens to me that, when I have to face scenes of this type, there is always a nerve. And well, I try to do my best, to face the emotion and the action that I need to show; For example, in the fight scene…
—Where everything is said and it feels very real.
—We are friends, but there is so much trust, we have known each other for so many years, that it is like when you fight with your brothers, that you say the green candle, but you love each other. And I think that they (the characters) had earrings that I had never spoken about, for example, I don’t know, that the character of Katia was in love with my brother and I tell her about everything, because it was an earring for me. So, that’s the moment we throw up everything.
—And it is also a dialogue with the spectators at a generational level, because the references they use are also —excuse me— something “aunts”.
—(Laughs.) Yes, it’s true.
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—They sing “Juana la cubana”… There you feel that you are speaking to someone specific.
—Yes, well, we are talking about women of the age that we show. And each one is having conflicts in life at a certain age, divorce, widowhood; Me, with this toxic relationship that I want to get out of there and give myself the opportunity to find a slightly healthier love. Very addicted to work, very abandoned in terms of her dignity and her self-respect, let’s say. So, to tell about that course, that journey of life, you have to be a certain age, right? And of course, on the (road) trip we sang 90s, 80s music, because that’s what takes us back to Pacasmayo. I think all those details also enrich the scenes.
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