Luis Tosar unveils All the Names of God, now in Spanish cinemas alongside director Daniel Calparsoro. Tosar portrays Santi, a taxi driver drawn into a plot that erupts from the Barajas airport attack. In a shocking turn, his character becomes a figure laden with explosive danger, roaming Madrid with terror strapped to his body. This project marks a bold entry for Galician cinema, backed by the production house Vaca Films.
I heard that All the Names of God is a thriller that leans heavily on emotion.
A tense thriller, with a charged emotional layer. The portrayal leans on a deeper family drama that unfolds as the plot advances, shedding light on motivations and hidden wounds that are gradually revealed rather than laid bare at once.
His character has endured a devastating family loss, fueling questions about depression and resilience. Did the actor explore personal history or the journey of someone close to him to guide the portrayal?
To approach depression as a real illness, several references come into play. As experience grows, scripts are studied, and past losses from life help shape the character. Yet the actor avoids drawing directly from private life, choosing to craft a distinct persona with its own experiences. The aim is to let the character stand on its own while drawing on universal human experiences without blurring private life.
There was discussion about engaging with voices of real extremists, given past talks with individuals connected to other controversial works. Was there contact with any jihadist perspectives for this film?
No, the actor did not pursue that route. The story is told through a more ordinary person facing an extraordinary, spiraling situation. If the chance to seek guidance came, it would have been welcome, but the focus remained on a grounded, human response to an extraordinary crisis.
In some footage, the protagonist navigates a suddenly empty Gran Vía with explosives in hand, while flashbacks echo earlier cinematic moments. He is pursued by agents and soldiers in a tense cat and mouse dynamic.
A memorable scene emerged as the cast describes the shoot. The production created a large, synchronized display, working without the aid of special conditions. The team rehearsed extensively elsewhere to keep pace on the day of filming. They shot two Sunday mornings on Gran Vía, four hours apiece, an experience that left a lasting impression and became a defining moment in the actor’s career.
The film also touches on fake news and the power of imagery. Could a society obsessed with visuals turn against itself?
Today’s world is dominated by images. People often skip patience for analysis, preferring immediacy of sight. The film suggests that persuasion through a single image has enormous influence. It reflects a culture built around daily documentation of life on social networks, a practice that sometimes undermines a stable sense of truth. The narrative hints at a fragile structure built on appealing, sometimes hollow, visual storytelling, a castle held up by uncertain pillars.
Viewed as a potential smokescreen for social problems, the film also points to fundamental tensions. Structural issues, including income disparities, persist even as appearances suggest happiness. The real struggles lie in uncovering truth, since people often choose to believe a convincing lie rather than face a harsher reality. It feels like a quiet agreement that sustains a troubling cycle with remarkable endurance.
As a father of two, the actor admits concern about education and the shaping of young minds. The conversation turns to parental doubt in a world where reality can be manipulated by technology. Screens and online life increasingly rival physical experience, and balancing this with real-world connection remains a daily challenge. It is a topic that surfaces in almost every discussion about modern parenting and media literacy.
With cinema continually evolving, there is a question about attracting audiences back to the big screen. Has the industry seen signs of relief or renewal?
The actor senses a slow turnaround rather than a dramatic surge. He does not expect a return to former highs, but notes a modest recovery among older audiences and a waning of the platform boom. Faith, however, remains a personal bulwark, guiding his views on cinema’s future and the enduring appeal of shared theater experiences.