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.

Julia Solomonoff: “Nadie nos mira (Nobody’s watching) helped me look for a place in New York”

Votes

(Votes count 5)

(Rating average 0)

solomon
Argentinean director Julia Solomonoff spoke this morning with the media about her third film, Nadie nos mira (Nobody’s watching), which closes the 55FICX outside of competition.
Residing in New York, Solomonoff is filming for the first time in the United States of America and tackles the experience of living there as a foreigner. “There’s a long work of immersion in that world. I always need a perspective about my experience to write and direct”. The director returned to Buenos Aires in 2001, where she spent some years and made her first two films, Hermanas (2005) and El ultimo verano de la Boyita (2009), a look into her own childhood which cost her “more time to make”.

Nadie nos mira also has highly autobiographical characteristics, although its protagonist, Nico, is a male figure. “By registering something so personal, you have to hide yourself a bit”. By taking this decision, she also thought that “if I had put in a woman with a baby, the audience would quickly think about a delayed maternity”, something far from her objectives. Much like the protagonist, Solomonoff worked as a babysitter during her period living in the United States as a student. When she returned in 2009, she already had two children born in Argentina. “I started observing the parks and babysitters world, and everything had changed”. The masculinization she found intrigued her.

Using the character of an Argentinean actor trying his luck in New York’s scene, Solomonff reflected that the city “has an idea of success imposed from the outside”, and with the title itself she claims “there’s a difference between the interpreter’s role and human observation”, because “being conditioned to look at things as a success or failure deters our growth”, and that’s why she doesn’t see Nico’s conclusion as a loss.

By jumping from rural Argentina to Manhattan’s urban chaos the director knew she was facing “a challenge, because New York is a very photogenic city”. To portray the city she started with two concepts, “avoid common places and postcards” and “be genuine using the location, film the places inhabited by the character”. She managed this familiarity thanks to a “small and flexible team”, although the production design to film during the four seasons required special conditions. “From the kind and dynamic summer we changed to a hostile winter”.

In Nadie nos mira there’s also a reading about the Latin community in Trump’s America. “When he won, I had already finished the film. But I decided to change the scene at the park”, a sequence that now reflects “the type of immigrant Nico is and the fears he has to face”. For Solomonoff, although “New York is still a greatly tolerant city”, for the last year foreigners have felt “the fear” regarding the uncertainty of their condition in the country. Although she doesn’t consider herself an immigrant, travelling for the last two decades, she does think that Nadie nos mira has helped her “look for a place in the city that I didn’t have before, with which I feel more comfortable”.


Sergio de Benito
Palabras clave Festival de Cine, 2017