‘We Have Been Preparing Our Whole Lives to Make this Film Without Even Realizing it,’ Says Eva Libertad of Directing Her Deaf Sister on Berlin Title ‘Sorda’

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Competing for the esteemed audience award at the Berlinale Panorama, Eva Libertad‘s film “Sorda” (or “Deaf”) illuminates the realm of deaf females and how motherhood impacts their connections.

Latido Films acquired Libertad’s first feature film in December, which is a developed version of the award-winning short “Libertad” that she co-directed with Nuria Muñoz. Starring her sister Miriam Garlo, a renowned deaf actress, this movie was a project that took Libertad a lifetime to bring to life. In an interview with EbMaster, Libertad shared the journey and effort behind the creation of “Sorda”.

The conception of ‘Sorda’ came about during my sister’s ponderings on motherhood. At that juncture, she confided her apprehensions as a deaf individual to me, which made me realize that I had never contemplated the challenges faced by a deaf woman aspiring to be a mother in a hearing-centric society.”

Or, more informally:

“The idea for ‘Sorda’ popped up when my sister was thinking about having a baby. Back then, she told me about her worries as a deaf person, and it dawned on me that I hadn’t given much thought to the difficulties faced by a deaf woman who wants to be a mom in a hearing world.

At that point, she realized there were anxieties connected to deafness, beyond the usual insecurities women face, which she hadn’t previously considered. She then asked her to document these fears and a few days later received a detailed list. This list significantly impacted her and ultimately led to the creation of the short film ‘Sorda,’ which eventually grew into this full-length feature film.

She clarifies that “Sorda” is a work of fiction: “It’s not derived from my sister’s life story. Instead, I interviewed deaf mothers to understand their concerns and anxieties during pregnancy. They shared how motherhood impacted their relationships with their partners, parents, or themselves, as well as the challenges they faced in communicating with their babies. Additionally, I learned about their labor experiences, some of which were more challenging than portrayed in the film.

Equipped with an abundance of resources, she decided on the most suitable details for the fictional couple in her narrative, featuring Ángela, portrayed by Garlo, who is deaf and expecting a child with Héctor (Álvaro Cervantes, known as “Adu” and “Ramón y Ramón”). The baby’s birth puts stress on their relationship, causing Ángela to confront the challenges of raising her daughter in a world that isn’t fully equipped for someone like her.

She opted for “Sorda” as her debut movie, aiming to delve into the intricacies of the relationship between the deaf and hearing communities. This includes examining both the beneficial and challenging facets, the connections and affection, yet also the disagreements and confrontations.

Or:

She selected “Sorda” as her initial feature film to investigate the depths of the link between the deaf and hearing societies. This encompasses exploring the pros and cons, the ties and emotions, but also the discords and frictions.

She stated that something vital for her role as Miriam’s sister has evolved throughout our lives and continues to change its form while presenting a constant challenge – a puzzle we strive to unravel each day. She went on to explain that, in a sense, they have been readying themselves for the creation of this movie without consciously realizing it.

Beyond her roles as a screenwriter, director, and playwright, Libertad also holds a sociology degree from the Complutense University of Madrid. This academic background has allowed her to infuse her characters with additional dimensions of complexity.

In crafting my characters, I strive to immerse them in their unique circumstances. For Angela, this means grounding her within an ableist society that often overlooks those with disabilities. I believe Angela is prepared to face the world, yet it seems the world isn’t quite ready for someone like her.

She finds the scenes involving infants particularly challenging to film. “To portray Ona’s child character effectively, we required a total of seven different babies, ranging from newborns up to one-year-olds,” she reminisces.

During the sequences involving infants, the babies essentially called the shots, requiring the entire crew to cater to them accordingly. The shooting strategy my cinematographer and I had prepared fell apart since the baby would either start crying or act unpredictably. However, this was a blessing in disguise as it added authenticity and vitality to those scenes,” she notes.

When asked if she’s thought about her upcoming feature film, she responds: “Indeed, I’ve been mulling over the next project. However, I hope to have the luxury of time to develop it peacefully… What I am certain of is that I would be thrilled to collaborate with my sister once more.

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2025-02-16 12:46