“Fatum”, the first film of Galician director Juan Galiñanes, is in theaters today. This movie in Galician stars Luis Tosar and Álex García. The Lugo man plays a gambling father struggling to keep his family together. . A translator from the Canary Islands is a cop fighting for his son to have a heart transplant. The two get together during a robbery in a game room. This emotional and moral thriller is a roller coaster for the viewer. Robbery, shooting, dialectic … and a plot that does not get bored, does not stop asking questions to our minds and hearts. We talked to Tosar about this movie that hit movie theaters today.
–What attracted you the most in the “Fatum” scenario?–
The spins it gives An unusual and unconventional scenario. Although the first ten minutes may seem like a social drama, it turns into a heist movie. When it’s installed there, it spins again and something else happens that I didn’t mention to avoid spoilers. In the final third of the movie, moral dilemmas emerge that have little to do with what we saw in the beginning.
–You are giving life to Sergio, how did you prepare the role?
–I read a lot about the subject and spoke to a psychologist who treats gamblers; but this is not a movie about compulsive gambling. Sergio is a man who has overcome his addiction.
– What was it like working in real life with your partner, María Luisa Mayol, who plays your wife in the movie?
–Luisa and I have done a previous job of stepping away from the characters to distract ourselves from the drama. When you’re a father, when the conflicts in the movie are about you in terms of paternity, you need to take care of yourself.
– Are you saying that because you suffer from taking a character home?
– You don’t take them home, but there is a certain energy in the characters that settles into you. It’s not easy to clean every day. It’s an exercise you should try to do, but it takes work. One of the two may be more confused when they get home, it may take time to get into orbit. Let it happen to one of the couples, well; but it’s okay if it happens to both, because there’s a Jesus in the family. [tienen dos hijos] attention should be paid to this.
–The movie also revolves around responsibility. Have you learned to be more responsible or are you throwing the balls?
– In the human nature, the person is laden with good and bad experiences. You accept that you have to fulfill your responsibilities but at the same time you become more of a fox to escape. Sometimes we fail to recognize ourselves in the problem of the moment. This is what happens to the “Fatum” characters who do not accept this. Sometimes our problem is that we are not always aware of where we are. Call it the fear of assuming that one is not as good or great as one tends to idealize.
The guilt is very present.
-There is always a pending fault. Guilt isn’t always obvious when something happens. Sometimes they appear years later. Guilt is part of our upbringing and requires a deep analysis of whether it is Judeo-Christian guilt or genuine guilt. That is, if you could actually do something to improve and not do it because it was out of your hands.
– “Fatum” also invites you to reflect on what a murderer is.
–Another open melon, yes. My character Sergio is such a guilty man that the only way he can structure this idea is to accuse another character of not doing what he’s supposed to do. He does this out of desperation. He doesn’t face the fact that he went into a playroom with his children and that’s what happened to him.
–Are we enslaved to more and more work? Some characters are blamed for going to work on their own terms.
–What is it, we are talking about an unusual job, police sniper. Few people in Spain are committed to it. If I’m not going to shoot one day, I’m riding an important Christ. But if an elite shooter doesn’t go, that could mean whether a life-or-death situation is well resolved.
– A phrase repeated throughout the movie and in different dialects has to be about the desire to go back and change destiny. Are you a person who thinks like that?
-Rarely. It’s not an idea I have. Fortunately, nothing this serious has ever happened to me. The rest are decisions, and mistakes help shape future decisions that are more complex.
– In this movie, you see female bosses in positions that were unthinkable in movies twenty years ago. How do you see evolution?
– Very prominent and more and more. I get the feeling that the cinema is pushing certain roles that serve as communication and incentive for everything to normalize. Even within the cinema, the role of women in relevant positions has increased. However, there is much more to be done.
– What about the eroticization and objectification of women? –
I don’t see much progress there, I’d even say we’re a little behind. There is an over-sexualization in products and ingredients for men as well as women. It gives me the impression that the prevailing popular culture is a result of the music world. There is feedback.
How do you run the characters?
–Alone or with a coach. I do exercises for paper, it’s not just memorization. It is a chaotic and complex business. Sometimes I sit and other times I take advantage of any situation to reverse a scene.
– He has been chaining work after job for years. I think you’re feeling lucky.
-Completely. It is an irregular profession. I feel lucky in a kind of Olympus. Unfortunately, we are a minority in the profession. It’s a paradoxical moment, there’s a lot of production but a lot of commenting people who aren’t working.