Pedro Almodóvar and Halina Reijn on Making Movies About Death and Sex in the #MeToo Era

As I sat down to analyze this captivating conversation between two visionary filmmakers, I couldn’t help but feel a profound sense of admiration and respect for the courageous women at the heart of it all. Pedro Almodóvar, with his decades-long career and unapologetic exploration of female sexuality, has been a trailblazer in the industry, while first-time director Susanne Bier showcases an impressive mastery of storytelling and feminist themes in her debut feature.

In my perspective, Pedro Almodóvar and Halina Reijn share a significant connection through Jean Cocteau’s play “The Human Voice.” While Almodóvar transformed it into his inaugural English-language film, starring Tilda Swinton, Halina Reijn performed in a live production of this solo show. Interestingly enough, both directors ventured outside their native tongues this year to explore taboo themes. Almodóvar’s “The Room Next Door,” featuring performances by Swinton and Julianne Moore, delicately weaves the profound bond of friendship with the sensitive issue of euthanasia. On the other hand, Reijn’s “Babygirl” showcases Nicole Kidman as a CEO struggling with repressed sexual desires. Remarkably, both directors found themselves emotional during the filming process while dealing with these complex and poignant topics – sex and mortality.

At times I find myself shedding tears – astonishing, isn’t it? There was a particular instance when I felt compelled to seclude myself in the restroom,” Almodóvar confesses to Reijn, who finds this believable given that she too shed tears on the set of her movie. “I wouldn’t display it openly, but I would be standing near the monitor …” Reijn responds, concealing her face.

It’s challenging because, as Almodóvar points out, directors are required to play multiple roles for actors – they’re expected to be like a parent, a partner, a sibling, and even an adversary. Yet, they’re only human. Through their candid discussion, Almodóvar and Reijn find common ground in their mutual love for crafting art that is thought-provoking and insightful.

Pedro Almodóvar: Following the creation of “The Human Voice”, I found myself captivated by Tilda Swinton and yearned to collaborate with her again on another project. The script was penned with her in mind, but for the other character, I sought someone radically distinct. Julianne Moore came to mind due to my admiration for her acting abilities; she’s truly one-of-a-kind. Fortunately, I had the good fortune of working with both of them as the process moved more swiftly than anticipated.

Halina Reijn: What did you expect?

Almodóvar: I tend to be quite a verbose director when working in Spanish. Occasionally, I find myself talking excessively to the actors and rehearsing extensively. However, for this film, I didn’t need as much rehearsal time because Tilda and Julianne required less preparation. In fact, I filmed fewer takes in this movie compared to my previous Spanish projects. Normally, I could take between 10 and 20 attempts, but with them, I only needed two to four.

Reijn: Do you think the limitation of the language brought you something positive in that sense?

Almodóvar: I agree. There’s a certain actress who improves significantly after doing it once, then even more so after ten times, and truly excels by take fifteen. Consequently, I always do all fifteen takes. However, these actresses often give a very good performance during the first take. To ensure quality, I shoot the second one and the third one as well. (paraphrased)

Reijn: Are you afraid of death yourself?

Almodóvar: Certainly. This is an aspect I’ve incorporated into Julianne’s character, Ingrid, and it truly reflects my own sentiments. I can’t accept the concept of [death]. I don’t comprehend it. Once the physical body has perished, I believe that the spirit persists. I don’t think that people simply cease to exist with death. However, this is a mystery that I grapple with.

Reijn: Since your film explores themes of death, illness, and farewells, I initially found it daunting to watch. However, I was delightfully taken aback by its warmth. In a peculiar way, it eased my apprehensions about death.

Almodóvar: I didn’t aim to create a film that was gloomy, gritty, or graphic. Instead, the movie embodies the spirit of Martha’s [Swinton] character. In this context, death is something she chose, which makes her both the master of her life and her own demise. I believe this autonomy over life and death is a fundamental human privilege we all possess.

How did you start writing [“Babygirl”]?

Essentially, you’re asking whether the savage nature is within us or it exists outside of us. My central idea revolves around this query: Are humans inherently wild or cultured?

Almodóvar: Or we are both?

Reijn’s Reflection: We share similarities indeed. However, I frequently find myself perplexed by my actions, thinking “I’m intelligent, I read a lot,” only to follow with something clearly detrimental to me. This led me to ponder over aspects of myself that I feel ashamed about, such as my anger, sexual desires, and so forth. I wondered, “Can I truly love every part of myself? Can I embrace my own darkness?” This is what inspired me to create the film.

Almodóvar: It’s quite intriguing to see that your film features a character yearning for dominance at this point in time.

Reijn: She wants to be submissive, and she wants to be dominated by this young man.

Almodóvar: I’m not certain about the views of feminists on this matter, but as far as I’m concerned, her power lies in her choice to assume that role.

Reijn: Authentic feminism allows us to embody various roles. I’ve often found myself observing men portray complex characters like Richard III and Macbeth, while as a woman, I was relegated to playing Ophelia – a role with limited scenes that transitions from a virgin to a suicide victim. I yearned to craft a female character that embodies the spectrum of experiences – a loving mother, a devoted wife, and a passionate lover.

Almodóvar: Do you think that she was repressed in the marriage?

Assistant: Yes, you’re correct. If the characters played by Antonio Banderas and Nicole Kidman had an honest conversation at the start of the movie, perhaps the events portrayed wouldn’t have occurred. She believes she needs to be flawless, which is why she undergoes extreme measures such as ice baths, Botox, and therapy. She thinks that if she can eliminate all her flaws, then she will be loved and happy. However, she fails to fully express herself, even with her husband who doesn’t require her to hide her true self. Instead, she constantly suppresses her emotions until she can no longer do so, at which point they resurface and cause trouble. This film serves as a warning about the consequences of suppression.

Almodóvar: What happens at the conclusion, once she’s clarified everything? Will there be any shifts in their relationship?

Reijn: Absolutely, the film I’ve created is more like a parable or a bedtime story rather than a real-life documentary. However, I’m hoping it presents an opportunity for the characters to encounter one another, as if in reality.

Almodóvar: I had a moment during the #MeToo movement when I felt, as a writer, a man, and a director, that it was no longer acceptable to discuss passion, that looking at someone with desire could be seen as a form of seduction. This, I thought, was an act of aggression.

Reijn expresses: The #MeToo movement has been profoundly impactful, given her background as an actress and personal encounters with such unpleasant experiences. However, she emphasizes the importance of maintaining openness and radical honesty in all creative pursuits – whether it’s theater, visual arts, literature, or conversations among people. She believes that bringing these hidden issues into the light through discussion is therapeutic, whereas suppressing them and denying their existence can lead to fear and feelings of isolation.

Additionally, I designed my film to serve as a catalyst for dialogue. Post-screening, we often host question-and-answer sessions, and at times, these discussions can become quite intense, particularly when addressing topics such as the orgasm disparity, especially among women.

Almodóvar: You talk about that in the Q&As?

Assistant: Absolutely, we do! It’s amazing. Interestingly enough, women often prefer discussing their personal experiences related to the film, rather than the movie itself. They might reflect on what they’ve encountered or their aspirations. Unfortunately, this topic remains quite taboo, even among other women.

Almodóvar: The film is rather open about its themes. A significant aspect is that Nicole’s character shows no fear and is willing to take on any challenge. I believe this trend of explicit films dealing with sex is beneficial, as these movies are often directed by women. This seems appropriate because in many cases, male directors and writers might not fully understand female sexual pleasure. Thus, it provides a unique, authentic female perspective.

Reijn: True.

Almodóvar noted that when discussing intimate love scenes, the dialogues between him and Nicole seemed distinct compared to what they might be if Nicole were speaking with a male counterpart.

You’re spot on! In the film, her character undergoes a significant transformation as she breaks free from the notion of “I can only be who you expect me to be.” She expresses this to her husband, stating, “I want to be the woman you admire. I just want to be ordinary.” This is a reflection of our ingrained mindset. It’s crucial that we break free from these constraints. Now, there’s a bit more room for female directors and storytellers as we move forward. It’s an intriguing period in time.

2024-12-20 21:19

Pedro Almodóvar and Halina Reijn on Making Movies About Death and Sex in the #MeToo Era

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