‘Julieta’ Star Emma Suarez and Natalia de Molina on Tackling Addiction, Dance and Silence in Aitor Echeverría’s Feature Debut ‘Dismantling an Elephant’

As a seasoned movie connoisseur who’s seen more films than I can count, I must say that “Dismantling an Elephant” is a cinematic gem that truly resonates. Director Aitor Echeverría masterfully weaves a tale of addiction’s far-reaching impacts within a family, using the intricate bond between mother and daughter as his narrative thread.

In the movie “Dismantling an Elephant,” directed by Aitor Echeverría, we witness a deep examination of how addiction impacts a family, primarily focusing on a close mother-daughter relationship. The film features Emma Suárez, a three-time Goya award winner renowned for her role in Pedro Almodóvar’s “Julieta,” and Natalia de Molina, a two-time Goya recipient, including the award for “Living Is Easy With Eyes Closed.” Other actors in the movie include Darío Grandinetti, known for his role in “Talk to Her,” and Alba Guilera from “One Year, One Night.

As a devoted admirer, I found myself instantly captivated by both the director’s vision and the script for this film. The unique, cinematic portrayal of addiction, the subtle narrative, and the exquisite visual style were irresistible attractions. To top it off, meeting Aitor, the director, further fueled my excitement. His confident demeanor and faith in our work made me even more eager to be part of this project.

De Molina expresses a sentiment similar to her co-star, sharing that her involvement with the film dates back several years. “I encountered Aitor in 2018 when he first mentioned the project to me,” she recalls. “Immediately after our conversation, he shared the script with me, and here we are today. From the very beginning, I was certain I wanted to contribute to this endeavor.” She adds, “I never wavered in my belief in his vision or the story he wished to share…It feels as if he placed his trust in me just as I did in him. That mutual confidence, the willingness to take risks, the unwavering faith, the shared artistic intuition… frankly, such qualities aren’t always easy to find.

The film captures addiction as a disease that transcends the individual. It opens with Blanca asleep, drunk, and oblivious to a fire taking hold in another room of her house. To prepare, Suárez and de Molina immersed themselves in the world of those affected. “Seeing as we play mother and daughter, Natalia and I, along with the director, carried out exhaustive research,” Suárez reveals. “We went to family therapy sessions and to rehabilitation centers, where the people were so generous to share such vulnerable moments with us.”

De Molina highlights the complex interdependence among her film characters. She points out that the condition portrayed in the movie, which is an addiction, affects not just the individual afflicted, but also those around them. In this particular story, Blanca and Marga serve as reflections of each other. While Marga’s illness is manifested through alcohol, Blanca’s is represented by her relationship with Marga. Each family member copes with their shared struggle in different ways, and there isn’t one definitive approach to dealing with it. There are numerous paths to endure it.

In the story, both Marga’s profession as an architect and Blanca’s career in dance symbolize their inner worlds according to Suárez. He explains that for Marga, the architect character, there’s a metaphor related to her internal void within the spaces she creates. He further adds that the house designed by Marga in the film has transformed into her prison.

While tackling the role of Blanca, de Molina found herself in an unfamiliar territory as she is not a professional dancer. However, she expresses that embodying this character allowed her to fulfill a long-held dream of studying contemporary dance. Yet, she acknowledges that the challenge wasn’t just about dancing gracefully amidst professional dancers, but rather conveying Blanca’s emotional state through her movements during rehearsals and performances. This aspect, she admits, was one of the most difficult tasks she has ever undertaken. She confessed to putting immense pressure on herself and at times questioning whether it was her emotions or Blanca’s that were being portrayed—an experience she had never encountered before.

The story contains elements that are not explicitly clear, encouraging viewers to form their own interpretations. We’re given only a glimpse into this family’s life, revealing both prosperity and hidden scars, yet they grapple with coexistence. As Suárez points out, “Dismantling an Elephant” presents numerous thought-provoking questions and stimulates deep, engaging discussions among viewers. This aligns with the film’s objective, which was to empower spectators to think critically and personally engage with the content.

De Molina views openness as a defining characteristic of auteur filmmaking, stating “Everything is personal and adaptable. It’s not up to you how each person lives, thinks, feels… and I appreciate that.” When she portrays a character, she can either make the journey clear or leave it ambiguous. She finds it intriguing to work from a place of uncertainty …Her approach is getting inside the character and disregarding everything else. “This is what mature filmmaking and independent, auteur filmmaking entails, and that’s what this movie represents.

De Molina contends that the film’s central theme transcends addiction. She suggests that at its heart, the story is a powerful portrayal of love, complete with its contrasting light and shadow moments. The underlying issue, she muses, isn’t addiction, but rather silence. Speaking about it brings to mind the importance of open communication, tackling problems directly, and dealing with them as effectively as possible, even when it seems difficult or impossible. She argues that this is always preferable to ignoring problems altogether.

The movie serves as proof of the advantages when established stars support new film directors. Regarding Spanish cinema in particular, Suárez expresses a positive outlook. She’s thrilled about the variety of ideas and themes being explored, along with the creative liberty these projects enjoy. “The emerging filmmakers are brimming with excitement and passion,” she noted, “and this optimism gives me hope for what lies ahead.

Despite her enthusiasm, De Molina expresses some reservations about a potential trend towards conventionality in the film industry. “It seems that fewer risks are being taken, and the same formulas are being recycled,” she notes. “The focus has shifted towards maintaining political correctness, which I believe detracts from genuine artistic expression. I appreciate the discomfort and boundary-pushing aspects of art, and it’s unfortunate that emerging filmmakers who aim to innovate often face the most challenges, receive the least support, and are subjected to the harshest criticism.

Under the banner of Arcadia Motion Pictures, a Barcelona-based production company known for Rodrigo Sorogoyen’s foreign-language César winner ‘The Beasts’ and the Academy Award-nominated animated feature ‘Robot Dreams’, comes the film titled ‘Dismantling an Elephant’. This project is supported by Filmax, a significant player in Spanish film production, sales, and distribution.

2024-12-03 15:48

‘Julieta’ Star Emma Suarez and Natalia de Molina on Tackling Addiction, Dance and Silence in Aitor Echeverría’s Feature Debut ‘Dismantling an Elephant’

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