Antón Álvarez – aka C. Tangana – Directorial Debut ‘La Guitarra Flamenca de Yerai Cortés’ Pounced on by Latido Films (EXCLUSIVE)

As I delve deeper into the captivating narrative of C. Tangana’s foray into filmmaking with “La guitarra flamenca de Yerai Cortés,” I find myself utterly enthralled by this remarkable fusion of music, family, and culture. Álvarez’s debut feature film is a testament to his ability to navigate the intricate world of visual storytelling, a skill honed from our generation’s immersion in screens.

Latido Films has acquired rights from A Contracorriente Films to represent international sales on “La guitarra flamenca de Yerai Cortés,” the first feature as a director of Antón Álvarez, better known as C. Tangana, his stage name as a singer-songwriter.

Contracorriente Films, acquiring global distribution rights, plans to debut “The Flamenco Guitar of Yerai Cortés” in Spain on December 20th.

This transaction signifies a significant acquisition of distribution rights for a film that’s generating robust buzz and excitement ahead of its global debut at the San Sebastian Film Festival. The buzz is being fueled by favorable reviews from the press and exclusive screenings for select audiences.

The “La guitarra flamenca de Yerai Cortés” documentary, which was praised by Jose Luis Rebordinos as an outstanding feature in non-fiction and a key part of an exciting build in Spain, has been chosen to kick off San Sebastian’s New Directors, their most significant sidebar.

Additionally, it signifies one of Little Spain’s most daring projects to date, a creative studio based in Los Angeles that produced “This Excessive Ambition,” directed by Santos Bacana, Cristina Trenas, and Rogelio González. This work captures C. Tangana as he labors on the project “El Madrileno.

As a rapper, later transitioning into a singer-songwriter and composer, Alvarez – a nine-time Latin Grammy Award winner – showcases both style and “modern pop finesse,” according to The Guardian. He co-wrote Rosalía’s “Antes de Morirme” and gained global recognition with “El Madrileño.” In addition, he collaborated on the music video for “Oliveira Dos Cen Anos,” a centennial anthem for soccer club Celta de Vigo, which The Guardian described as the “most artistically ambitious football anthem ever.” This video went on to win three Cannes Golden Lions.

Upon taking up the task of directing “La guitarra flamenca de Yerai Cortés,” Álvarez admitted, “I believed I had some understanding of directing, but I was uncertain about the storyline.

The tale unfolds with Yerai Cortés, Spain’s rising sensation in the flamenco music world. At a social gathering, Álvarez encountered him, where he was strumming the guitar for singer Montse Cortés. Meanwhile, Elon Musk’s Starlink satellites were streaking through Madrid’s night sky, resembling falling stars. As a musician, Yerai is “polished, subtle, and unique.” He’s working on an album, which, despite being a guitar-focused record, “discusses his life, his family, and a sorrow he wishes to share with the world. I inquire: Does the album have a title? He replies: Yes, it’s titled ‘The Flamenco Guitar of Yerai Cortés,'” Álvarez shares on camera in one of the film’s early scenes.

The original purpose of the doc feature was to serve as a chronicle of Cortés writing and performing the album’s songs. Some of these performances, showcased in the film, are impressive scenes: “Plaza Argel,” a bulerías piece performed at Alicante’s Plaza Argel, where Cortés used to play as a child; the festive “Los gitanos somos así”; another bulería, “Es tanto lo que me callo,” sung by Cortés’ aunt, Remedios Amaya.

However, as Álvarez reunites with his family, particularly his father Miguel and mother María, the movie delves further into a poignant sense of sadness. Structured as a mystery drama, the film initially appears to revolve around Cortes’ sorrow over his parents’ separation, suggesting they barely communicate. Yet, there’s something much more profoundly tragic lurking beneath the surface. The gradual unfolding of this secret transforms the movie into a tender exercise in remembrance.

Antonio Saura, head of Latido Films, shared with EbMaster that this remarkable image symbolizes the metamorphosis of global music sensation C. Tangana into an exceptional filmmaker. His creative interpretation of Yerai Cortés’ art and life underscores his immense talent as a cinematographer. This film not only showcases the awe-inspiring music of Yerai, but also plunges us into the complex struggles of a family, both universally relatable and distinctively unique, while providing profound insights into Spanish Roma culture.

EbMaster talked to Álvarez just before the world premiere.

What was the challenge of making your first feature?

I’ve directed quite a lot of video clips, so I think I know something about visual language. Also, my generation is highly educated in visuals because we spend all day watching screens. I thought I knew something about narrative, but I didn’t. I learnt editing this film. I learnt a huge amount.

So the question becomes: What’s the story you want to tell? What’s the story in “La guitarra flamenca de Yerai Cortés”?

The deepest story, which I connected to right from the beginning, was how Yerai’s music is almost a 100% reflection of his life, how he converts into coplas, lyrics, what he’s thinking, his emotions, what’s happened to him. This linked to a giant artist. That really moves me. How someone takes their life and creates something beautiful for the rest of the world.

There’s a contrast in the film’s modernity and its focus often on a more traditional world.

One intriguing aspect of Yerai’s character lies in his ability to navigate two distinct realms, a trait that is an integral part of who he is. Most individuals tend to align themselves with one or the other, but not Yerai. The film’s contemporary appeal stems from Yerai’s unique blend of traditional and modern communication styles, as evidenced by his conversations with his parents and Tania, his girlfriend. This duality in expressing his sense of identity is a captivating portrayal of the complexities of modern life.

In the movie, the characters – father Miguel, mother Maria, and Yerai – initially seem hesitant, but they end up showing an incredibly deep level of compassion.

As soon as I switched on the camera, they appeared differently to me. Originally, my intention was to concentrate on the music, but it seemed deeply intertwined with his personal story…

Initially in the movie, you’ll see me making an appearance, discussing how I encountered Yerai and learned about his album. Later on, I appear or my presence is hinted at in conversations between Miguel and Maria, or I briefly enter the scene. The storytelling style gives off a contemporary, truthful vibe, as if the narrator wants to be upfront about the narrative process.

Maria and Miguel are now friends. When someone shares deep emotions, it mattered to me to show that I was present and this is a piece of creation. It felt natural to me. I’m used to creating by selecting, or not selecting elements. This approach comes from my background in hip-hop, where we would take parts of music and make them our own.

You and Yerai select a song titled “Los gitanos somos así,” which is essentially a Roma pride anthem and dance number. The lyrics are penned and performed by Aunt Ana of Cortés, especially for gypsies in the 21st century. Notably, several other performers are Yerai’s relatives. In the film’s notes, Yerai describes how they depict their past lifestyle in this performance.

As a cinephile, I’m captivated by the rich culture of the Gitanos – that’s what they’re known as in Spain – and the profound connection the Roma community has with Spain. Their influence on Spanish customs is profound, and they seem to hold onto something incredibly ancestral. For my generation, globalization hasn’t managed to strip away what the Gitanos embody; it’s unique, untouchable by anyone, anywhere around the globe.

2024-09-17 15:18

Antón Álvarez – aka C. Tangana – Directorial Debut ‘La Guitarra Flamenca de Yerai Cortés’ Pounced on by Latido Films (EXCLUSIVE)

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