Argentina’s Past and Teen Turmoil Collide in Sundance-Bound ‘The Virgin of Quarry Lake’

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Titled “The Virgin of Quarry Lake,” this new work hailing from director Laura Casabé of “The Returned” series, weaves together Argentina’s 2001 economic downturn with the turmoil of adolescence, raw passion, and supernatural elements. The script is penned by renowned Argentine filmmaker Benjamín Naishtat (“Rojo,” “Puan”), based on short stories by Booker Prize nominee Mariana Enríquez. This cinematic piece will make its debut at Sundance, under the World Cinema Dramatic category. It’s a collaborative project, co-produced by Spain, Argentina, and Mexico, with contributions from Mostra Cine, Ajimolido Films, Caponeto, and Mr. Miyagi Films.

David Matamoros and Ángeles Hernández, producers from Mr. Miyagi, initially came across the project during the Co-Production Forum at the San Sebastián Film Festival. Being admirers of Enríquez’s work, they were also keeping track of Casabé, as she had won an award for her debut film “The Returned” at the Sitges Film Festival. After discussions with the Argentine and Mexican teams, their collaboration on the project was established.

Matamoros stated that by early 2022, we gathered the Spanish funds after more than eight months due to ICAA and ICEC Minority Fund’s assistance. Mexico came on board later through Eficine funding. Hernández commented, ‘It wasn’t an easy task.’ Co-producing involves additional communication and understanding of each country’s difficulties, as well as a significant production effort to maintain harmony. Add Argentina’s high inflation rate to the mix, and it becomes even more challenging,” says the team.

Filmax took international rights to complete the setup. 

In “The Virgin of Quarry Lake,” we follow Natalia, a teenager grappling with her deep feelings for Diego, her childhood friend. As the older Silvia enters the picture, Natalia, under the advice of her grandmother Rita, resorts to witchcraft in an attempt to separate them. The story unfolds against the backdrop of Argentina’s heart-wrenching 2001 economic crisis, a period Casabé intentionally keeps as a somber yet persistent undertone.

Casabé expressed to EbMaster that we didn’t want the 2001 crisis to be a main focus. Instead, it’s like an ever-present specter in the background. People were losing their possessions, and Natalia holds onto Diego because he provides stability amidst the chaos. The fear of losing everything, the fear that poverty can spread – this fear shapes her perspective on life.

Often in films, the chaos of adolescence is portrayed humorously or from a distance, ignoring its impact on future adulthood. Casabé explores the raw, intense aspects of this phase without judgment or mockery: “I don’t aim to pass judgment or make fun of adolescence. This stage is marked by turmoil, jealousy, and love so profound it borders on obsession. Natalia’s feelings collide with a harsh reality. Teenagers are constantly trying to appear rational, and I wanted to depict that underlying chaos. We all retain some remnants of our teenage selves.

In Casabe’s acclaimed debut “The Returned” and the chilling “The Virgin of Quarry Lake,” folklore and the supernatural play a significant role. For me, the extraordinary sneaks into our everyday world through tiny cracks – it’s not your typical supernatural tale; instead, it delves into magic and mysterious powers that subtly intertwine with our ordinary lives. When creating Natalia’s abilities, I was inspired by the raw intensity of 2001 – those instances of collective rage that ignite and have the power to transform us.

In the end, choosing Natalia’s role was difficult. However, it was eventually given to the impressive newcomer Dolores Oliverio. As Casabé recalls, “Dolores was the final candidate we saw after a three-month casting process. She’s not an actress but a dancer. Her body language said so much – as if she had matured too quickly. She wasn’t prepared for a lead role yet, so we rehearsed for two months. Dolores’ precision and presence were ideal for Natalia.

I’m thrilled to be part of the team that includes Fernanda Echevarría, Luisa Merelas (also known as “The Beasts”), Isabel Bracamonte, Candela Flores, Agustín Sosa, and Dady Brieva (“Más que un hombre.”) It’s an honor to work alongside such talented individuals.

Adolescence is frequently characterized by a blend of exaggerated self-assurance, intense self-doubt, and constant evaluation driven by and influenced within peer groups. As Casabé puts it, “Girls can be downright mean to their friends, we can act harshly towards them, but then we care for them deeply, and we stand by them. That’s a part of female friendship.” To achieve authenticity, the cast spent considerable time together before filming. By day one, they were genuine friends, and that kind of bond can’t be faked.

A longtime enthusiast of literary novels, Casabé found Enríquez’s evocative writing style captivating. “Her portrayal of adolescence resonated strongly with me as it seemed incredibly genuine. I was also influenced by authors such as Ernesto Sabato, known for his complex, brooding characters, and there is a touch of Holden Caulfield in Natalia – this profound sense of existential turmoil and despair.”

(The aim here is to make the sentence more conversational while keeping the meaning intact.)

2001’s tumultuous backdrop gives the movie a striking resemblance to current events in Argentina. Casabé doesn’t shy away from addressing this: “We’re experiencing ideological oppression. Our cultural institutions are under siege; they label filmmakers as freeloaders. However, we’re simply dedicated professionals striving to preserve our industry. Despite the challenges, we persist. Co-productions with Mexico and Spain kept this film afloat – international partnerships will continue to sustain us.

Casabé continues to be optimistic about the cinematic future of Argentina. “We’re well-prepared. We’ll persist in producing films. Cinema symbolizes memory, identity, and resilience, and it has never been more necessary than it is today.

With her film about to make its debut at Sundance, Casabé expressed her disbelief, stating she was “still in awe” following the selection. “We submitted an unfinished version, and I thought for sure we wouldn’t be chosen. When we were, it felt like a dream. So many films that I admired as a teenager premiered at Sundance, and now ours is among them. It’s truly remarkable.

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2025-01-23 16:48