Josefina Molina : Still Battling After All These Years
SAN SEBASTIAN — She isn’t done yet. The battling character of Josefina Molina , winner of Spain’s 2019 National Cinematography Prize, was glimpsed in her acceptance speech at the San Sebastian Fest…
But, having remembered Carmen Alborch and her “intellectual lucidity” and thanked Spanish Vice-president Carmen Calvo for her support of female filmmakers, the brunt of her speech – applauded by Spain’s cultural establishment which packed out the Tabakalera’s main hall – was a salvo fired off at “the shameful, intentional refusal to normalize in society laws of equality approved in Parliament.”
That sense of society turning back history was already anticipated in her most ambitious film, “Esquilache,” written with Joaquín Orostrell and Molina’s faithful producer José Sámano. and the story of Italian Leopoldo de Gregorio, the Count of Esquilache, brought to Spain by Carlos III during the Enlightenment to modernize the country.
She has tried her hand at multiple genres, Fereira added, including even erotic drama (“The Linden-Blossom Tea” in 1979’s “Cuentos eróticos”). Several constants stand out in her career, however.
Another trait: The focus on the fate of female figures. Such is the subordination of Vera to the men in her life – her husband, and her manservant – in “Vera, un cuento cruel,” that they are quite able to carry on life as if she were alive even after her premature death. their passion for her stronger than any sense of the reality of her existence.
Much of the fascinating ambiguity of the film comes from the fact we never know how much Herrera and Dicenta are still acting in the documentary drama, even in what is supposed to be a truth session. Representation before others, as before the camera, becomes a mode of and barrier to communication.Read more: Variety
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