59th BERLIN FILM FESTIVAL 2009
Published in the journal Sequences
Claudia Llosa, or hope for a Peruvian film
It should not that the low resistance of the 2009 competition will come to darken the triumph of the film The Milk of Sorrow (La Teta asustada) , the unexpected winner of the Golden Bear. In only two feature films, Claudia Llosa, who was barely 32 years old and a native of Lima, has managed the feat to deliver a dense and personal while the first director of Peru to grab top honors at the Berlinale. Sequences collected his testimony a few days before his triumph.
You can count on the fingers of one hand the production designed and filmed in Peru have caught the imagination of festival gente, except perhaps those of Francisco J. Lombardi, winner in 1990 Grand Prix of the Americas with Caídos del cielo , but whose production remained confidential with us. With a first feature ( Madeinusa ) noticed in Rotterdam and elsewhere, Claudia Llosa, daughter of the great Peruvian writer Mario Vargas Llosa of and raised in a liberal family and globetrotter, was quickly realized that Peru could not exist in the cinema without international assistance to all participating laboratories writing possible (in Los Angeles and Berlin, among others) while ensuring the participation of English producers willing to come and shoot in his native country in trusting the local workforce. Also
resulted in political, poetic, social, anthropological and plastic The Milk of Sorrow could do the most good for both young talents Peruvian lack of visibility, but also in film the feminine in general, especially for its great artistic maturity and his fierce desire to anchor his story in a reality defended authenticity. The evil of milk referred to by the title of the film has raised many questions among his first audience.
"There were several suspected cases in the mountainous regions exposed to the barbarity of terrorism during the 1980s, psychological studies have shown that this was a psychosomatic disorder which had affected women living in fear being raped or beaten again, explained Llosa. The only literal name of the disorder, the 'breast scared' is so evocative that it is passed from one generation to the next, often associated with shamanistic rites. Although psychoanalytic aid has been deployed by NGOs to come to their rescue and help them talk, it is they need more help. "
a strong image to another, the filmmaker has created from scratch using the potato down deliberately low sex Fausta to visually illustrate the pain that gnaws. "Again, the potato came to my mind after hearing testimony from a friend about a similar case reported in a medical report, remembers Llosa. Fausta bleeds caused by sprouting of potatoes was more emblematic of his intimate beliefs and fears. However, I had to get a medical opinion on the credibility of this situation ... In Peru, the potato is seen paradoxically as a symbol of fertility and rootedness, a sense that I turned into the film to indicate trauma, injury, a type of tumor that wants to hide. "The director
intersects this cruel myth in a ritual very concrete and very popular in Peru, the group marriages, a recurring theme of the film. "This practice is authentic and very common in Lima, the director assures. Moreover, the extras scenes wedding had already taken part in the ritual and had even dressed in their ceremonial robes again during the filming! "
production of the film took place in several languages, while English has given way to the Quechua, a dialect still spoken among the indigenous in Bolivia and Peru and in northern Colombia. " It is true that Quechua is losing ground in Peru, "agreed the director. On the plateau, several types of Quechua were spoken, however, because the members of our local team came from different regions and even on stubborn how to speak it well. "
Llosa has finally been lucky in discovering the talented Magaly Solier, who plays Faust, a young woman ready to undergo a purge incongruous desire to ward off men. "She herself has written songs of the film after several hours sitting at the piano because it is a real singer," she confirmed. For a singer, it is natural deport his torments by voice, and the character of Faust, and before her, her grandmother, have fed several songs to avert their fate but also to perpetuate their memories, as painful as they are. "
© 2009 Charles-Stéphane Roy
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