As a filmmaker, I feel deeply moved by the story of “I’m Nevenka”. The complexity and subtlety of harassment as portrayed in this movie is both chilling and enlightening. Urko Olazabal’s performance as Álvarez is nothing short of masterful, transforming him into a menacing presence that lingers long after the screen fades to black.
Nevenka Fernández, a former Ponferrada Municipal Council member, shared that she fell asleep in one of the hotel rooms, and her boss, Ismael Álvarez (who was the powerful mayor at the time), joined her there.
Álvarez’s lawyer questioned why you didn’t choose to depart,” was said during the trial initiated by Fernández, when Álvarez faced charges of sexual harassment.
“He was at my side. I couldn’t move,” Fernández replies.
At this year’s San Sebastián Film Festival, Iciar Bollain’s film “I’m Nevenka,” produced by Film Factory Ent., is competing in the main category. Co-written with Isa Campo, who collaborated with Bollain on the successful movie “Maixabel,” this film is based on real events that led to Álvarez being the first Spanish politician to be found guilty of sexual harassment, a groundbreaking court ruling 15 years prior to the #Me Too movement.
The movie isn’t just a straightforward account of the events leading to the decision; instead, Alvarez expertly employs emotional manipulation techniques. He uses terms like “Quenca,” which is childish and belittling, to question her maturity, suggesting she’s immature, losing control, making threats, then begging for forgiveness, and even resorting to sexual abuse.
In the film, Bollaín aims for viewers not merely to observe the mistreatment, but to experience its tangible and emotional repercussions. This is emphasized early on as Nevenka (played by Mireia Oriol as “Alma”) leaves her job in dramatic fashion, disguised as a medieval handmaiden during Ponferrada Templars Night festivities, and later, still visibly upset, when she encounters her lawyer for the first time in Madrid several days later.
Simultaneously, Bollaín’s directing style transitions smoothly from lavish, grandiose crowd scenes to familiar elements of the horror genre, where Álvarez is portrayed as a grotesque, almost ogre-like figure.
As San Sebastián approaches this year, Bollaín focused intensely on her most significant film to date, a Movistar Plus+ original production made in collaboration with Kowalski Films and Feelgood Media. The support from Spain’s largest pay TV/SVOD provider, Movistar Plus+, provides not only financial strength but also promotes the movie titled “I’m Nevenka,” which will debut in Spain on September 27 through Buena Vista International.
One powerful effect of “I’m Nevenka” is a tangible depiction of Nevenka Fernández’s descent into despair, transitioning from the graceful portrayal of her fairytale early days with Ismael Álvarez to the terror of harassment, encapsulated within the confines of a genre film, where Álvarez transforms into a monster. The story culminates in a feeling of freedom…
Absolutely, we aimed to follow her path as the movie unfolds. Initially, there’s an abundance of light, giving it a radiant feel. She appears joyful and self-assured, demonstrating great intelligence and skill. Everything seems to be going smoothly, creating a harmonious atmosphere. However, as she encounters adversity, we intentionally distort the shots, creating a sense of confinement to mirror her experience. We want viewers to accompany her on this journey. Her story has already been told in a book and a documentary, but what fiction can provide is an immersive experience where you don’t just hear about her journey, but you feel it and live it alongside her.
“In ‘I’m Nevenka,’ you can truly comprehend the ordeal she endured, as it seems unnecessary for anyone to face such hardships as she has shared with us today.”
Indeed, harassment is often hard to articulate due to its subtle nature and the possibility of recurrence over an extended period. This makes it challenging since repetition can lead to disinterest among observers who may not wish to witness the same situation again. Some incidents may have occurred on multiple instances but have only been shared once.
In the performance of Urko Olazabal, Álvarez transforms into a sinister figure. He does this subtly, by gradually lifting his head, approaching from unexpected angles like behind, or unexpectedly showing up at her door.
What struck me about Urko’s performance was the stark contrast between his real-life reserved demeanor and the dynamic, extroverted character he portrays on screen. At times, when playing a villain, there’s an uncanny resemblance to a crocodile lurking by the riverbank – calm, still, and waiting. Yet, in an instant, he can strike with unexpected ferocity. The camera often highlights this duality, capturing moments where Urko’s character exudes a sense of severity, barely moving, and his gaze devoid of emotion.
Occasionally, he feigns being a victim, questioning if Nevenka should encourage him to take his own life, or dismisses her as though she were just a child…
Oh boy, here comes that macho character again, loaded with bravado. He’s a master at creating chaos, one moment he’s jovial, and the next, he flips like a switch, turning icy cold. It leaves me, and Nevenka, guessing how to react. For instance, when it comes to that wedding car ride, we’re both unsure if we should get in or not, frozen with uncertainty about what’s expected of us.
Your main inspiration are your conversations with her?
She shared numerous instances and her emotions with us. Some of these accounts originate from Juan José Millás’ non-fiction book, “There’s Something That Isn’t as They Say,” which served as our starting point. Additionally, testimonies from other women who experience sexual harassment were presented, revealing a similar pattern or method.
Additionally, you skillfully weave an almost mythical feeling of time, blending two distinct worlds – contemporary Madrid and historic Ponferrada. The story reaches its peak during the Ponferrada Medieval Templar’s Night, where Nevenka is portrayed as a handmaiden and Álvarez as her knight and lord.
In fiction, you can craft the narrative of a movie, and I found that intriguing. Ismael Álvarez had a knack for appealing to the masses, he was sociable and outgoing, often mingling with people. Many admired him greatly. So, how might we depict this? We ultimately filmed two parades, one at the start of the movie when his bond with Nevenka is strong, followed by the Templar’s Night where she escapes to her home. In actuality, this event occurred on an ordinary day. However, from a dramatic perspective, the Templars Night served as a powerful tool to tell our story.
As a follower, I’m thrilled about Movistar Plus+’s inaugural movie lineup unveiled this January, featuring the film “I’m Nevenka.” Domingo Corral, Movistar Plus+’s director of fiction and entertainment content, aptly described it as creating “event cinema,” showcasing their dedication to pushing boundaries even further. I’m eager to see how they will surpass themselves with this compelling production.
Movistar was extremely helpful during the production of our movie, enabling us to tackle an arduous shooting process. We filmed in various locations including Bilbao, Zamora, and England. Given that the story took place in 2000, we had to pay meticulous attention to every detail, from vehicles to architecture, makeup, hairstyling, and costumes. These intricate details significantly increased our budget, but Movistar was very cooperative with all our requirements. What’s more, Movistar+ boasts a robust promotional platform that outperforms many other Spanish media groups. For a theatrical film, having marketing on Spanish television is an immense advantage.
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2024-09-21 12:47