As a seasoned cinephile with a penchant for exploring the depths of human emotion and the intricacies of storytelling, I find myself utterly captivated by Alauda Ruiz de Azúa’s masterful creation, “Querer.” Two years have passed since her debut feature film “Lullaby” graced our screens, and I must say that this Spanish mini-series has not only met but surpassed the lofty expectations set by her first foray into cinema.
Two years have passed since Alauda Ruiz de Azúa’s feature debut, “Lullaby,” premiered in Spanish cinemas and received high praise from Pedro Almodóvar as the best Spanish debut in years. Recently, there has been much anticipation about her first TV series titled “Querer.” During a visit to the set last October, it became clear that she had some interesting thoughts on this new project.
After being screened in its entirety (which lasted for 212 minutes), the highly-acclaimed mini-series that won without competition at San Sebastián was shown to the press last Thursday evening.
It’s reasonable that she decided to expose the truth. “Questioning,” or seeking answers, was initiated by Miren, the seemingly picture-perfect wife in her marriage, when she visited a police station to accuse her husband of over 30 years of sexual assault. The narrative then unfolds the contrasting responses to this decision from Aitor, their elder son who remains loyal to his father, and Jon, the younger brother who stands by their mother. Ruiz de Azúa skillfully combines a legal suspense with family drama as he portrays the aftermath of her revelation.
Remarkably challenging and rhythmically precise, “Querer” delves into profound queries that have long puzzled many individuals, including what constitutes genuine love or how to establish the absence of sexual consent within a marital bond. Pushing boundaries, it culminates in an emotionally stirring climax that takes you by surprise. In its cinematic approach – as evidenced by techniques such as mid-distance fixed frame shots – “Querer” is nothing short of cinematic artistry at its best.
It’s also possible that this production will shine a spotlight on four talented Spanish actors: Nagore Aranburu (“Irati,” “Intimacy,” “Flowers”), who portrays Miren and may be contending for the best performance award at San Sebastian if “Querer” were eligible, Pedro Casablanc (from Almodóvar’s “Strange Way of Life”), who assumes the husband’s role, Miguel Bernardeu (“Elite”) playing Aitor, and Iván Pellicer (“Paraíso”) as Jon.
The mini-series was penned by Ruiz de Azua, Eduard Sola, and Júlia de Paz. It’s a production of Movistar Plus+ in collaboration with Kowalski Films and Feelgood Media. For international broadcast, it is managed by Movistar Plus+ International.
In the final stages on a Friday, San Sebastian was being praised by Spanish critics as the top Spanish series of the year. I had the opportunity to talk with Ruiz de Azúa ahead of this year’s festival.
In the arrangement of scenes, I find that this show predominantly employs a mid-range framing style, opting for medium shots over extensive close-ups. The camera remains stationary most of the time, but it subtly comes alive during crucial moments, like when Miren confidently strides towards the courtroom…
As a film enthusiast, I initially envisioned this as a captivating series due to its episodic structure, allowing for intriguing ellipses. However, upon viewing, I found myself appreciating its cinematic approach more than I anticipated. This series delves deeply into the themes of judgment, exploring how we perceive what we witness in private moments and court proceedings.
It seems likely that one benefit of producing the series with Movistar Plus+ was having ample time to focus on shooting rather than setting up scenes.
Absolutely, my experience with Movistar Plus+ has been marked by unrestrained creativity and abundant resources to realize my story’s concept. Whether this is typical or not, I can’t say for certain. Our aim was to create a series appealing to mature audiences, and they were receptive to my vision in that regard, which made me feel backed by them.
The series deals with sexual abuse within a seemingly stable marriage….
Among the questions that intrigue me about the scenario of a woman ending a long marriage is, how does sexual abuse come about within a marriage or relationship? It’s likely that such abuse began disguised as consensual intimacy. However, at some point, a boundary is crossed. This woman finds herself enduring a situation of sexual violence. Understanding the dynamics and methods by which such violence can be perpetrated by someone who was once thought to love you or care for you: How does that transformation occur?
A trial offers an uncommon chance to delve into the perspectives of not only Miren, but also her spouse.
Absolutely! The concept here is to immerse the audience within a genuine courtroom setting, enabling them to experience various testimonies firsthand. They would be privy to all narratives, gaining insights into the characters involved. This immersion aims to reveal not only her perspective that led to such an outcome but also to expose the tragic side of the accused or potential aggressor. It’s essential to portray both sides for a comprehensive understanding of the situation.
Indeed, the series could be said to describe the tragedy of machismo, affecting both sides.
The concept of machismo is a profound sorrow. This sadness is deeply rooted in our cognitive frameworks. It’s not only linked to various aspects, but it also stems from how we think and perceive ourselves. At the heart of this tragedy lies the act of being an aggressor. Frequently, they defend their actions using romantic love, protecting the family, or other similar rationales as excuses.
Nagore Aranburu’s acting was remarkably understated, even amidst her personal struggles. There were hardly any over-the-top performances, which is quite commendable. What do you think about it?
During the casting process, Nagore [Aranburu] truly stood out. She’s an exceptionally talented actress. A significant aspect of our character development discussions revolved around avoiding stereotypes associated with victims. Through rehearsals and consultations with real-life victims, we found that maintaining a composed demeanor, as you pointed out, is authentic. It’s important to note that not all victims exhibit the same behavior, but for the narrative we created for this character, maintaining composure was crucial. In the face of such harrowing and intense experiences—questioning, feelings of isolation, and the challenge of rebuilding one’s life—self-restraint became a necessity.
The two sons are also conflicted….
The characters grapple with significant internal struggles, constantly facing multiple pressures that tug them in various directions. This aspect of their personality seems to mirror our own, as Miren and her sons often find themselves in situations where they must act, even when unsure of the outcome. Making decisions without absolute certainty is a part of their forward momentum, yet it leaves them questioning whether their actions align perfectly with what’s right. This complex portrayal aimed to bring authenticity to human nature, capturing the intricacies and uncertainties inherent in our existence. The approach taken was essential to the storytelling process.
Callum McLennan contributed to this article.
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2024-09-27 15:47