Mar Coll’s Locarno Title ‘Salve Maria’ Pictures a Mother Who Fears Her Own Monstrosity

As a seasoned cinephile who has traversed the vast landscapes of global cinema, I must say that Mar Coll’s “Salve Maria” stands as a compelling testament to the power of storytelling and the courage it takes to challenge societal norms. Having delved into Catalan cinema for over two decades, Coll has consistently pushed boundaries, questioning the status quo with unflinching honesty.

As a pioneer in contemporary Catalan cinema, Mar Coll, over the course of her 20-year career, has persistently challenged conventional wisdom. She has scrutinized Catalan upper-middle-class hypocrisy and emotional immobility (“Three Days With the Family”), satirized the patriarchal comedy of paternal narcissism (“Matar al Padre”), and debated the merits of Scandinavian social models (“The Is Not Sweden”).

Stepping into the realm of thought-provoking cinema, I find myself captivated by “Salve Maria,” which debuts in the main international competition at Locarno this year. This film challenges societal norms that persist even in 2024, delving deep into the question: Are all women biologically or emotionally equipped for motherhood?

As a movie buff, I find myself captivated by the story of Maria, an aspiring author and fresh mother, who finds herself tormented by a chilling presence – her own self. An article in a newspaper catches her eye, and it becomes her obsession, detailing the tragic tale of a French woman in Barcelona who drowned her 10-month-old twins in the bathtub. This grim event casts a long shadow over Maria’s life, making her own maternal instincts seem ominous and potentially dangerous.

The film’s narrative unfolds as a psychological thriller, characterized by its vintage ambiance, 35mm format, and an ever-present, haunting orchestral score composed by Zeltia Montes, who won the Best Original Score at the Spanish Academy Goya Awards for “The Good Boss” starring Javier Bardem. As Maria progressively reveals her hidden neuroses, the atmosphere grows increasingly ominous, leading her to escape to the Pyrenees in search of Alice. The scenes presented are surreal and fantastical.

Under the banner of Be For Film, the movie “Salve Maria” is created by María Zamora at Elástica Films, a highly productive Spanish studio known for both art-house and cross-over film productions. Additionally, Escándalo Films, founded by Sergi Casamitjana to foster the works of graduates from Barcelona’s Escac film school, such as J.A.Bayona and Coll herself, is also involved in this production.

Elástica Films also handles domestic distribution in Spain.

Mar Coll’s Locarno Title ‘Salve Maria’ Pictures a Mother Who Fears Her Own Monstrosity

EbMaster caught up with Coll on the near eve of this year’s Locarno Film Festival.

In the film “Salve Maria,” some elements remain consistent since your debut in 2009’s “Three Days With the Family.” You have consistently challenged conventional middle-class ideologies and their principles. Here, you take this a step further by implying not every woman is naturally suited for motherhood.

Mar Coll: Certainly. My frequent collaborator, Valentina Viso, and I often strive to create in environments that challenge us intellectually, make us feel a bit uneasy, and provoke us to reconsider assumptions. We consistently incorporate critical thinking into our filmmaking process.

In another sense, “Salve Maria” marks a shift from your previous works, as you choose to venture into the realm of mystery psychological thrillers, having primarily focused on directing drama-comedies in a realistic style.

Absolutely, you’re correct in your observation. The script is indeed based on Katixa Agirre’s book “Mothers Don’t,” which deviates from the naturalistic style we’ve been using so far in our cinematic endeavors. Our aim was to transform it into a thriller, eschewing an overly intellectual approach and focusing more on creating an atmospheric experience. In hindsight, I believe that our choice to narrate the story in this way was effective in conveying a sense of distress, guilt, and monstrosity. The film ultimately becomes a sensory journey rather than a strictly intellectual one.

The idea of monstrosity is not just limited to physical form; it’s also a social construct. A pivotal moment occurs when Maria visits a gothic church situated in the mountainous village of Taüll…

The movie explores the uncomfortable and remorseful feelings connected to the perception that one’s experiences as a parent diminish not only personal identity but also overall self-worth. It’s often assumed that mothers, due to childbirth, have an innate ability to love and nurture a child, yet this film challenges that notion.

In bestiaries, creatures symbolizing vices were based on real animals, but since artists hadn’t observed these animals directly, they depicted them as grotesque beings instead. Similarly, due to their unfamiliarity and misunderstanding, dysfunctional motherhoods are often perceived as monstrous. Infanticide is typically seen as an act committed by someone alien or inhuman, a ‘monster’, who differs significantly from us. However, as writers and creators, our aim is to delve into understanding these complex figures and empathize with them. Just as artists in the past, lacking knowledge of certain animals, portrayed them as monstrous, we should strive to humanize these seemingly monstrous aspects.

Women not made out for maternity is still one of the great taboos of the 21st century.

While it may seem extraordinary, I believe that maternal feelings often stir a complex range of emotions. The situation we’re discussing might be particularly intense, but similar instances do occur more frequently than one might expect. However, they typically fall outside the boundaries of our moral compass, making them challenging to discuss openly.

Another departure is the soundtrack….

there will always be music in this movie.”

The use of genre in films of social point is a building trend among younger directors.

The film we aimed to create is more about cinematography, intending to distinguish it from TV productions. It celebrates language and the story’s creative elements, using 35mm film for its expressive shots, a classic film score, and various tones to maintain its rhythm and dramatic tension.

In the initial stages, as Maria participates in childbirth education classes, these sessions seem quite realistic, reminiscent of a documentary.

As a dedicated cinephile, I immersed myself in crafting a deeply introspective and European-inspired psychological thriller. To achieve a tangible sense of authenticity, we enlisted real mothers and their infants, aiming to capture raw emotions on screen. The narrative unfolds with complex characters shrouded in moral ambiguity, creating an unsettling atmosphere where suspense gradually intensifies. Reflection is encouraged as viewers navigate this intricate web of intrigue.

2024-08-07 12:47

Mar Coll’s Locarno Title ‘Salve Maria’ Pictures a Mother Who Fears Her Own Monstrosity

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