As a seasoned movie critic with a penchant for the unconventional and a soft spot for stories that delve into life’s complexities, I find “They Will Be Dust” to be an extraordinary cinematic journey. This film, under the masterful direction of Carlos Marqués-Marcet, is not just a musical; it’s a dance with death, a waltz with life, and a testament to love that transcends boundaries.
In “They Will Be Dust,” director Carlos Marqués-Marcet, who won a Goya for “10,000 KM,” ventures into a unique blend of life, love, and death themes. This film will have its world premiere at this year’s Toronto International Film Festival’s Platform category, where it stands out. Unlike typical musicals, the movie combines modern dance and music elements with the raw, gritty truths of a right-to-die narrative
Working in collaboration with Clara Roquet, whose “Libertad” earned recognition at both the Goya and Gaudí awards, this movie is jointly produced by Lastor Media, Alina Film, and Kino Produzioni – a team that also contributed to Carla Simón’s award-winning “Alcarràs”, which won the Golden Bear. The international distribution rights are managed by Latido Films
The movie revolves around Claudia, portrayed by Ángela Molina (“That Obscure Object of Desire,” “Broken Embraces”), who refuses to let her terminal illness dictate her autonomy. Instead, she and her partner Flavio (Alfredo Castro, frequently directed by Larraín), embark on a plan to end their lives together in Switzerland. Their adult children are shocked at the idea of their father considering such an act, with one exclaiming, “You believe this is love? This is insanity!” Scattered throughout the film are musical sequences. In one, emergency responders struggle, in a choreographed frenzy, with a distressed Claudia in her apartment. In another, park gardeners spring to life and join the singing daughter. “Music and dance can take you to places that words cannot,” says Marqués-Marcet. “We felt these elements could help us understand the abstract concept of death and the possibility of losing oneself.”
The visual and thematic elements of the movie fluctuate between the lively, artistic existence portrayed by its characters and the cold, medical setting of the Swiss clinic where their final act unfolds. As Marqués-Marcet explains, we took considerable inspiration from the symbolism of Spanish and Flemish Baroque artists and writers. The title is a reference to a line by Baroque poet Francisco de Quevedo: “will be dust, but dust in love.” This Baroque style presents a stark contrast with the everyday reality of Switzerland. Marqués-Marcet further mentions that Dignitas was helpful, even allowing them to film scenes inside the actual home (which is not a clinic, but rather a residence) used by them to assist people in ending their lives. The contrast between these two worlds emerges organically from their collision
The process of choosing actors was essential in making this tale come alive. As Marqués-Marcet explains, “The film required two performers who acted as magnetic opposites, the kind of contrasting energies that bind a strong couple.” Molina, with her fiery unpredictability, perfectly balances Castro’s more reserved, passionately restrained character. Together, they skillfully portray the fear, passion, and tenderness of a couple struggling to imagine being apart from each other
In my perspective, the film’s application of operatic undertones significantly amplifies the drama, blending elements of humor and sorrow. As Marqués-Marcet notes, these operatic pieces were essentially the musicals of their era, the “pop music” that captivated people back then. Just like how my grandma shared stories about how opera was sung on every street corner in Barcelona when she was young, and people argued passionately over their favorite sopranos much like they do today with soccer players, this connection to traditional music and performance adds a rich historical dimension to the film. Yet, it also challenges the conventional boundaries of what a modern musical can achieve
Maria Arnal, the film’s melodist, utilized her multi-layered style in her collaboration with the director, a process she described as exciting and lasting for several months. “At times,” Marqués-Marcet reminisced, “we would sit in her home studio and she would spontaneously sing tunes as we jotted down or revised lyrics on the spot. On other occasions, I would describe to her what I envisioned happening in a scene, we would establish a song structure, and then she would return the next day with an initial version that we would refine.” The end product is a score rich in vocal harmonies, which employs voice, percussion, and samplers to create its sound environment
The blending and redefinition of film genres for exploring various themes is increasingly common, sparking wider discussions about the role of genre fusion in cinema’s future. As Marqués-Marcet observes: “These days it’s tough to make sense of things straightforwardly; our world seems more complex and reality appears distorted.” He continues by suggesting that the combination of genres and various styles can offer a more accurate representation of the evolving world, but warns against using this approach merely for escapism or as a fashionable trend. Instead, he proposes, it should be employed to provide a truer depiction of our current times – an ‘augmented realism.’
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2024-09-05 16:17