Filmmaker Nacho Vigalondo and the Kabul Unit
Nacho Vigalondo’s upcoming English-language film is nearing release. The project, penned by Enrique Otero with Javier Gutiérrez, has recently sparked interest around its future ventures. In the meantime, the creator explores a cameo in Movistar+ through a new collaboration. The Kabul Unit marks the third and final chapter of a drama about a counter-terrorism unit that leads the story threads. Nathalie Poza was honored with the City of Alicante Award at the film festival on a recent Saturday.
He is set to receive recognition at the Alicante Film Festival next Saturday, alongside esteemed colleagues Karra Elejalde and Alejandro Amenábar. The ongoing conflict years into the story continues to influence the narrative arc.
“My heart fills with a quiet compassion”, one statement reflected. The team did not have much opportunity to celebrate the three Goya nominations for this film due to overlapping theatre commitments. It felt like a second chance to reconnect with colleagues and celebrate the project’s achievements. There is joy in reuniting with Fele Martínez, renowned for his rapid-fire performances, and in witnessing a festival that remains a very special and unexpected event.
When asked about the awards, the performer acknowledged prior Goya wins in 2018 and a subsequent rise in nominations across 2021, along with recognition from the Feroz, Forqué, and Unión de Actores awards. The answer highlights a sense of gratitude rather than a craving for prizes, noting that work continues on a shoot and in scripts that reveal new aspects of the self. The sentiment captures the uncertainty of a career in film and theatre, where living in the moment becomes essential amid unpredictable outcomes.
There is a note about balancing cinema and theatre, with awards flowing into the conversation as a backdrop to ongoing projects in both mediums. The interview hints at a certain oddity in earlier balance when fewer film nominations coincided with more theatre roles, but the balance now appears steadier.
There is considerable talk about the proliferation of TV series on streaming platforms, yet the performer has maintained a steady TV presence since the 1990s.
I began acting in television at roughly the same time as I entered theatre, with a first prominent role in a police drama that evolved into the Unit project. Television has brought substantial opportunities, and the quality of serialized work is evident. The craft behind serialized storytelling is intense, sometimes more demanding than film, but the core work remains the same. It is a field with notable employment fluctuations, yet the emphasis on meaningful content remains constant.
It is emphasized that women deserve central leadership in drama as the Kabul Unit era unfolds.
That leadership is absolutely fundamental. The interview references the success of festival-winning films led by women over fifty, highlighting a broader cultural shift toward inclusive storytelling. This reflects a belief that strong female characters and decision-makers should be a natural, regular feature in television and film.
Looking ahead at national politics, the rise of a party like Vox into regional parliaments and councils is described as frightening and worrying.
The stance is clear on the far-right movement’s growth and its potential to reverse hard-won rights. The speaker argues that broad social progress requires participation and voting, stressing the need to break the fear with will and courage to shape a fairer world. The conversation hints at the personal importance of civic engagement and the belief that the public should exercise its vote as a fundamental right rather than complain without action.
Support for screenwriters
When asked about the claims of Hollywood screenwriters, the opinion is strongly supportive. The view is that writers form the backbone of any strong script, and the craftsman’s influence cannot be overlooked. The belief is that great storytelling is inseparable from the authorial voice, and the advocate promises to stand with writers in their pursuit of fair terms and recognition.
It is unacceptable for a society to tolerate far-right influence in its institutions.
Speaking about collaborations with filmmakers like Woody Allen on Rifkin’s Festival, the experience is described as special, with moments that felt quintessentially cinematic from within the production process. The storyteller recalls the privilege of working with different talents and the value of cross-cultural projects that push creative boundaries.
Hollywood dreams
Some viewers wonder about a move to Hollywood. The response is measured: while language variety and accents offer exciting opportunities, the emphasis remains on meaningful roles across languages. The desire is not to abandon one’s roots but to broaden horizons through diverse nationalities, ages, and origins in storytelling—an approach that helps audiences see themselves reflected on screen.