Accept
Utilizamos cookies propias y de terceros para mejorar la experiencia de navegación y ofrecer contenidos y servicios de interés.
Al continuar con la navegación, entendemos que se acepta nuestra política de cookies.

La distancia más larga, the first contact of Spanish audiences with Claudia Pinto’s first film

Votes

(Votes count 228)

(Rating average 2,98)

la larga distancia
“It’s director’s determination, will and even stubbornness” invaded also a crew capable of solving the unsolvable and made them “give their hearts out”. La distancia más larga is the first Spanish film to be screened in the festival.
Audience Prize in Montreal to the best Latin film, competing in the section First Movies from around the World, La Distancia más larga (Spanish-Venezuelan co-production) starts its screening life in Spain, and its first contact with Spanish audiences takes place in Gijon International Film Festival.

It took its director, Claudia Pinto Emperador, 10 years to create her ambitious project, one that has taken them to one of the most inaccessible places in the world, the Gran Sabana, 8 hour away from any city and in constantly changing weather conditions, with a 70% of the shooting days under the rain.
A month and a half shooting when all of the difficulties, instead of setting them back, made cast and crew feel even more committed. “It’s director’s determination, will and even stubborness” invaded also a crew capable of solving the unsolvable and made them “give their hearts out”.

“We have all been Martina” said the young Venezuelan director, who lives in Spain, who had always clear who the main actress would be. Martina is Carme Elías who tackles a complex role. She had to play someone who has to reconcile her frailty now that she’s on the brink of death with her strong personality, her Independence and how she wants to end her life.

La distancia más larga follows in every sense two trips. That’s why the audience will find two kinds of country, two ways of dying and two vital extremes: that of Martina, who doesn’t have much time left t olive and that of her grandson, with his whole life in front of him. In order to strengthen this duality, the editing, framing and acting is also differentiated and doubled.

And the director tells it all without a trace of sentimentality and adding what could be yet another difficulty, working with a child. It was not the case, on the contrary, it was “a gift” working with Omar Moya as Lucas, a real “professional, someone disciplined, clever, who preserves the naivete, truth and purity of a child”