In a dimly lit scene, a man wearing dark sunglasses, a beard and mustache, all in black, steps into focus. He settles into a chair, lights a cigarette with a measured grace, and exhale of smoke is deliberate and unreadable. “Good evening. Now I’ll tell you some jokes with the enthusiasm that marks me, because I’m visibly happy today. You know what I’m saying?” It isn’t Eugeniobut the resemblance to the earlier description is striking. The actor is David Verdaguer, currently filming around Barcelona after a period of intense work. The late Catalan humorist Eugenio, who brought laughter to Spain, passed away in 2001, leaving a lasting legacy as a bridge between generations.
The director chose to spotlight the early trajectory of this career, showing fame arriving more by accident than design. “I wasn’t chasing success; I was focused on shaping the character,” explains Trueba. The film, set from the late 1960s to the early 1980s, explores how a breakthrough can reshape a person’s life, often in unexpected ways, and examines the ripple effects on family and partners. The writer drew inspiration from a script that drew on material associated with Albert Espinosa and connections to Gerard Jofra, the son of Eugenio, who also served as a consultant during production and even appeared briefly on screen.
Before he became a household name as a comedian, Eugenio built his career steadily. He did not take the stage until his partner in life, Conchita Alcaide, urged him to start a family musical duo in the 1960s. Her interludes between songs and the solo performances she delivered when her partner needed care helped propel their act, which grew through word of mouth. The film recreates a Barcelona venue, depicting Eugenio and his wife performing at the Antic Casino in Sant Pere de Ribes, a moment that becomes a turning point in their shared story and the public’s growing affection.
Since the dialogue leans heavily on Catalan rhythm and humor, the director sought a native Catalan actor to embody the lead. David Verdaguer brought both the energy and the authenticity needed. “At first I felt some nerves, but Trueba’s calm reassured me. He wasn’t aiming for a caricature but for a true capture of the character’s vitality,” the translator notes. The actor mentions his familiarity with Eugenio as a fellow comedian who thrived on quick, observational humor—think of classic traditions such as Tuesday and Thirteen, Tip and Coll, and Monty Python as cultural touchstones that inform the tone.
With the bulk of filming in Catalan, the production relied on a dedicated makeup team to transform Verdaguer into Eugenio. A prosthetic nose and an extensive makeup session helped recreate the aged look of a man who rose from obscurity to fame. The project frames Eugenio’s life not just as a career ascent but as a poignant love story with his wife, underscoring the human costs and the tender moments that quietly accompany a comedian’s rise to prominence.
Carolina Yuste plays Conchita, the woman who stood beside Eugenio. Her performance is presented as a tribute to the generations of women linked to male stars who historically carried a heavy share of the burden and influence. The actress notes that Conchita’s influence helped shape Eugenio’s public image and describes Madrid and Barcelona as places that harmonize whenever the cast collaborates. Her portrayal hints at the personal toll of fame, including Conchita’s own battle with illness, a thread that adds gravity to the narrative’s emotional arc.
The ensemble also features Marina Salas as Eugenio’s sister, Peter Casablancan in the role of a representative, and Ramon Fontsere as the club owner who hosted some of the comedian’s most notable performances. The story even integrates several early career “camera cells” from Eugenio’s heyday, leading up to the iconic moment known as “One, two, three… Answer again.” Industry insiders estimate that the film, titled They Know That, will debut in theaters the following autumn, with principal photography wrapping in the near future.