Paz Vega’s Directorial Debut ‘Rita’ Re-Creates a Blissful, Then Blighted Childhood in 1984 Seville

As a film enthusiast and admirer of the craft, I found myself deeply moved by Ana Murugarren’s directorial debut, “Rita.” Having had the privilege to work with numerous esteemed directors over the years, Ana’s unique storytelling voice stands out distinctly. What struck me most was her ability to capture the essence of childhood through the eyes of a child, Rita, navigating a complex domestic situation.

Drawing from personal experiences, Spanish actress-turned-filmmaker Paz Vega has poured her heart into her directorial debut, “Rita.” Having honed her craft in the vibrant streets of Triana, a district nestled within Seville, Spain’s captivating Andalusia region, Vega was already a seasoned actress before she captured our hearts with her performances in “Sex and Lucia” (2001) and “Spanglish” (2004), opposite Adam Sandler. In “Rita,” it’s evident that she has embraced the advice of “write what you know.”

In 1984, nestled in a modest area of Paz’s hometown, the film “Rita” features Paz, a renowned Spanish actress on the global stage. However, her role as Mari, Rita’s mother, is surprisingly humble. Despite being present in numerous scenes throughout the movie, her face is not revealed until the 14th minute. Instead, the story centers around Rita, aged 7, who was just a year younger than Vega in 1984 herself, and her younger brother, Lolo, who is 5 years old.

For the majority, or the initial segment of “Rita,” is a heartfelt reenactment of Paz’s childhood memories. This reenactment is one of the factors that makes Vega’s debut a world premiere at Locarno on its Grand Piazza. At Locarno Fest, films shown in this area are typically chosen for a wider audience viewing experience.

As a movie buff reminiscing about my ’80s childhood, I take a leisurely two-minute tour through my room, starting from the old metal fan, moving past stacks of notebooks and cartons of crayons, a vintage toy truck, an action figure sprawled on the carpet, a small basket brimming with marbles, an analog clock, and finally settling on me as I stir awake on my top bunk bed. The tour lasts a full two minutes.

“Rita’s collection of vintage items extends beyond tangible objects; it also includes sounds and feelings. For instance, that same pan reminds Rita as she descends the ladder from her loft bed with her bare feet on the cold metal rails, a sensation many can recall when they’ve done the same. The distinctive ring of an ’80s home telephone, or the quick, dry burn of handling freshly toasted bread are sensations that linger in one’s memory.”

In a short while, within “Rita,” the young girl begins to pick up on additional noises: the faint yells of her father José Manuel arguing with her mother Mari, and what seems like the muted impact of blows.

The first part of “Rita” records childhood bliss, the second part, ever more, its blight.

As a film critic, I found myself deeply moved by this poignant portrayal that offers an intimate glimpse into the world of child victims of domestic violence. This is not just any movie; it’s a masterpiece crafted by an auteur, whose artistic vision resonates profoundly with the audience.

“Irene Airoldi, who is involved with Filmax, the film’s distributor, stated that ‘Rita’ showcases a strong directorial effort by its writer-director. According to Giona A. Nazzaro, Locarno director, Paz Vega, known as a star, transforms into a genuine filmmaker in this movie, effectively blending herself with the narrative.”

“Rita” was created by Marta Velasco and Gonzalo Bendala, two talented individuals at Aralán Films, a renowned production company based in Andalusia, known for producing Carlos Vermut’s “Who Will Sing for You” and Patricia Ferreira’s “The Wild Ones”. This production is also supported by Ola Films and Arte Sonora Estudios, a post-production facility situated in Madrid.

Paz Vega’s Directorial Debut ‘Rita’ Re-Creates a Blissful, Then Blighted Childhood in 1984 Seville

EbMaster talked to Vega in the build-up to Locarno:

In the movie, your character is portrayed as Rita’s mother, Mari, yet right from the film’s name to its opening scene, the emphasis is primarily on Rita.

The initial thought that struck me upon considering this film was unique, given the numerous movies on the topic of domestic violence. What stands out is portraying the subject from a child’s perspective – their awareness and attempts to comprehend the complexities of adult life often go unnoticed. We tend to underestimate children, but they are far more intelligent than we give them credit for.

As someone who has spent countless hours commuting on public transportation, I can attest to the small acts of kindness that often occur during these shared journeys. For instance, I remember a time when I was riding a bus with my friend Mari and her daughters, Rita and Lolo. Rita, being thoughtful and considerate, offered her seat by the window to Mari. Such moments of compassion and understanding are precious, reminding us that even in the hustle and bustle of everyday life, there is always room for kindness.

1. Indeed, a man appears to be crowding Mari’s personal space, and Rita has noticed this. It’s captivating to delve into the complexities of children navigating family dynamics, as well as their tendency to employ their creativity to flee from the real world. In fact, Rita is often seen sketching, reimagining reality in her own ideal way.

Rita enjoys spending time outdoors too, perhaps by scattering seeds for the birds in the local park, or simply relaxing on the lawn while gazing up at the floating clouds above. This isn’t just a happenstance…

My thought was that the apartment felt stifling, not merely due to the warmth, but because of the heavy, negative vibe it carried. However, when Rita ascends to the rooftop terrace of the building, she experiences a sense of joy and liberation. Stepping outside brings a moment of happiness and optimism.

Childhood is often filled with a persistent sensation, even in the most routine activities like descending a bunk bed ladder…

In a similar fashion, I’ve had a similar piece of furniture! Just as Rita often folds tablecloths after meals, I do the same. These relatable actions allow viewers to connect with the story, making it feel personal and immersing them in Rita’s world.

As a director, you would appear to like in-frame framing…

For me, framing is primordial in cinema. It was fundamental that what is in the frame has a meaning, but it’s as important what’s off camera, where the adults don’t appear, but we hear what’s happening. It creates a sensation of anguish not seeing what’s happening and seeing the children’s reaction who don’t need to watch their parents quarrelling. My focus is on how parents’ toxic relations impacts the children.

In this scenario, I’m speaking about myself, Lolo, who’s quite sensitive. To my father, José Manuel, I might not measure up to his expectations of being a ‘macho’ child; some spectators might even think he could have reacted physically due to his frustration.

Indeed, it’s quite intriguing. The bond between José Manuel and his father, Lolo, seems to revolve around a misunderstood form of masculinity. This masculinity is harmful, often referred to as toxic masculinity. José Manuel desires his son to embody traditional male strength, likely due to the fact that he himself was compelled to do so by his own father. Unfortunately, in José Manuel’s eyes, Lolo falls short. This pattern of behavior, where toxic masculinity is passed down from one generation to another, can cause immense suffering for those who have a father like José Manuel.

A question that many might pose to you could be: With your extensive experience working under renowned directors, has anyone’s style or approach had a substantial impact on you while directing your debut film?

In my approach, I’ve striven to be unique as my story is deeply personal. From the outset, vivid mental pictures were already formed. I admire how directors like Sean Baker collaborate with actors, and I was captivated by Jonathan Glazer’s “Under the Skin.” However, my film bears no resemblance to “Rita.” There might be street scenes that evoke Italian neorealism, but “Rita” stands on its own identity, which is a positive aspect.

Although you’ve worked in numerous countries worldwide, you decided to direct your debut film in Spain, specifically in the region of your birth, Andalusia.

As someone who spent my formative years in Seville during the ’80s, I can wholeheartedly relate to Rita’s story. Although I was fortunate enough to avoid the domestic violence that marred her childhood, many other aspects of her life echo my own experiences. Her neighborhood, the humble existence of her mother as a seamstress – these are chapters straight from my memoir. My childhood in Seville, with all its joys and hardships, has shaped me into who I am today, instilling within me a profound understanding of truth and resilience that continues to guide me.

And the cast and crew are all Andalusian?

Everyone, with the exception of Roberto Álamo, portraying José Manuel, a character hailing from Madrid, added an authentic touch to the story. Having him originate from outside Seville created a sense of detachment and alienation for him, living in an unfamiliar city that constantly provoked his anger. As a hardworking father in a scorching environment, he was one of many who believed they were doing what was right, but ultimately found themselves in the wrong. To me, José Manuel represents another casualty of traditional masculinity ideals.

2024-08-05 20:19

Paz Vega’s Directorial Debut ‘Rita’ Re-Creates a Blissful, Then Blighted Childhood in 1984 Seville

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