Following the world premiere at the Karlovy Vary Film Festival, where it received a special Proxima Jury Prize, writer and director Eduardo Casanova has arrived in Montreal to screen his latest feature film “La Piedad” (“La Pietà”) as part of the Queer Genre Cinema Spotlight at Fantasia . The show marks its first appearance in North America.
The film offers a delightfully whimsical peek into the lives of the obsessive and obsessive Libertad (Angela Molina), a mother with an insatiable need for it, and her son, Mathieu (Manel Lonel), who cautiously tends to her toxic trappings as a husband. become increasingly intertwined.
A personal story unfolds along with a poignant subplot that likens their family relationship to that of the masses and their dictator, showing that those who control the few can use propaganda just as easily as the sadistic leader to manipulate their wings into submission.
“The syndrome I worked on was Munchausen By Proxy, in which a caregiver infects her child so he doesn’t let go. In the movie, it ends up turning around and creating a relationship of absolute dependency. This syndrome seems to have a lot in common with how dictators relate to and condition people. Those were The syndrome is the starting point, but I suppose it eventually turns into something else,” Casanova said diverse.
Llunell (“Malnazidos”), Molina (“that mysterious being of desire”), Almodóvar alum, joined by Antonio Duran (“Cocaine Coast”), Daniel Freire (“Sex and Lucia”), Macarena Gomez (“Dagon”), Alberto Joe Lee (“La Voga”), Sunga Park (“The Minestry of Time”) and Anna Polforosa (“La Fortuna).
“La Piedad” presents an unconventional division through combinations of soft, sticky pink and pastel, with a retro feel, used when portraying the brutal, cruel and absurd abuse of Libertad and the North Korean dictatorship. In contrast, bleak and dull surroundings prevail as characters escape their captors, essentially painting a bleak future for anyone who dares to step into the real world after fully absorbing the high illusion of false happiness.
Produced by director Álex de la Iglesia (“30 Coins”) and actress Carolina Bang at Madrid-based Pokeepsie Films, who also directed Casanova’s first film, “Pieles,” co-produced by Argentine Crudo Films and Spain’s Gente Seria, has the hallmarks that The young director enveloped her in his blossoming aesthetic. Casanova noted that he constantly aims to include “something horrible, cruel and dark, so beautiful and so pink at the same time.”
On Freud’s Field Day, the camp’s dark humor is softly blended with surreal images of simulated birth, shared bathrooms, full-frontal pieces on display and brutal scenes of Mathieu’s subdued will to reject his mother’s authority. It oscillates between challenge and submission. In one scene, he opens a nearly-healed wound on his toe in the bathroom so that his mother, who cut it in the first place, can take care of it.
Speaking about the high art of clothing and fashion design and whether it evolves along with the narration, Casanova noted, “The image always appears in my head first, and then I develop it to make sense of it, that image that fascinates me. I like aesthetics, but I worry that the aesthetics It doesn’t count for anything. That’s why I work like this.”
Film Factory Entertainment in Spain deals with the international sales of “La Piedad”, which is Casanova’s second film, after a series of related short films that would guide his work. “Eat My Shit”, an innovative fast-paced online censorship film, won Best Short Film at SXSW and went on to inspire Pieles, which premiered in Berlinale, to high acclaim on the festival circuit. It debuted to a wider audience on Netflix.
“My short films were training for my films, and a way to learn how to shoot. In fact, my short films “Eat My Shit” became “Pieles” and “Jamás Me Echarás De Ti” mixed with “Fidel”, and “Lo Siento Mi Amor” became “La Pietà”, Casanova relayed.
A multi-talented person who creates memorable groundbreaking cinema, Casanova feels that independent filmmaking affords greater freedom and assures that no matter the budget, he has managed to achieve a phenomenal amount nonetheless.
“The more money you get, the less freedom you have. I also shoot big-budget series and ads and the process is different. Everything is collectible. Anyway, I can’t complain. Movies like the ones I make usually have a lot less money than the producers and our efforts made. It is to do big, drastic things, to be able to change the system from within.”
no pidad
Credit: Mavi Aspetia
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