Alicante hosts a reunion between two cinema icons: a screenwriter, director, and former Minister of Culture crosses paths with Ángeles González-Sinde for the first time in two decades. The gathering, set for Thursday at 17:00, will take place at the Alicante Bar Association (ICALI). Admission is free, and attendees can pre-register at a provided link marked as a citation.
It won a Goya for Best New Director. How does the film look twenty years from now?
The director explains that the timing feels right. He had just premiered his latest work, Restaurant, and now faces the premiere of his debut project again. He anticipates a lively discussion with the audience, including legal professionals, about a legal theme that inspired fiction. He loves cinema about lawyers and expects to leave with a suitcase full of fresh ideas.
Haven’t they seen each other since then?
Not recently. He believes most filmmakers rarely rewatch their early work because it exposes flaws they might have improved. But after so much time, he expects to watch it with affection, recognizing it as an ambitious political and social debut that aligns with directors he admires, like Costa-Gavras or Sidney Lumet. It remains a film he still identifies with.
Adriana Ozores also starred in Restaurant.
She was a favorite performer of his, and they collaborated on a play years ago and had another project on Canal Sur. That period marked the beginning of a strong working relationship.
What drew him to adapt Gabriela Ybarra’s novel to the screen?
The novel touches on many themes he loves and follows matters that deeply interest him. The book centers on family, politics, intimacy, and memory—topics that can become difficult to convey. Yet the author’s voice carries tenderness and restraint, avoiding melodrama. He admired the novel and felt the author’s support essential to shaping the script with care and respect.
Inside Restaurant, is the focus on the trace of the murder or the event itself?
The film largely follows the family’s experience. It begins in 1977 with a family of four and shows how the breakdown of negotiations and the daily uncertainty shape their lives. The narrative then shifts to 2011, following the same characters as adults, including a brother and an older daughter, navigating illness, secrets, and the emotional barriers within the family. The father’s silence, a relic of another era in Spain, is examined to reveal why he kept quiet when a devastating event occurred.
Is it important to watch more films about ETA terrorism to heal wounds?
Healing comes from living in a safer environment where the threat of violence is past. In the current climate, producing such films is feasible, and audiences respond with emotion, recognizing the issue whether or not they live in the Basque Country. The setting offers a welcoming space, and the story suggests a path toward rebuilding a family that finds its way back to hope.
Why does he not overindulge as a director?
He also writes novels, and filmmaking remains a challenging endeavor—financing, assembling a crew, shooting, and editing all demand immense effort. While he is content with his work as a screenwriter, he envisions spending less time making films in the future.
Is it a good time for cinema to hit theaters?
The present moment is difficult, with box office not fully recovering from the pandemic and many films running for only a short window. Yet cinema exists in a shared, communal space, and its future depends on audiences returning to theaters and embracing the experience together on the big screen.
The Sinde Law against piracy once bore his name. Will platforms shape how we consume TV shows and movies going forward?
He anticipated a balance of coexistence between platforms and creators. Platforms benefit consumers, but diversity remains crucial. Big players should not monopolize perspectives; European audiovisual works must have a place alongside Hollywood productions to avoid a narrow global view.
The Audiovisual Law, which provides support to film and TV projects on major platforms, has sparked protests from independent producers. Does he understand the concern?
Yes, because the worry is shared across Europe. Platforms are valuable for viewers, yet there must be space for smaller creators and distinct storytelling approaches. If not, European cinema risks being decided in Hollywood offices, losing its richness and variety.
What about the Ciudad de la Luz studios for audiovisuals?
That news is welcomed. Spain benefits from international shoots and the investment they bring. A recent example is a major project shot in Alicante that left a lasting impact on the local film ecosystem.
What about the Arcadi Blasco Museum project in Mutxamel?
He believes it would be wonderful if the project could be revived. Preserving and re-evaluating the works of this generation of artists is essential. It is not only about memory but about a cultural identity that future generations deserve to explore.
Is there anything in the pipeline?
He is writing. A novel he published recently has inspired a new project, and he has signed a contract to turn it into a film. He hopes to return to Alicante soon, to shoot locally in places like L’Alfàs del Pi and L’Albir. The narrative unfolds across these locations, though not all details are yet disclosed. He looks forward to starting production once the script is finalized.