Fatum, the debut feature from Galician filmmaker Juan Galiñanes, opens in theaters with a pulse that binds a family saga to a crime thriller. The film unfolds in Galician and features Luis Tosar and Álex García in lead roles. Tosar plays Sergio, a Lugo-born father who fights to preserve his family while a translator from the Canary Islands portrays a police officer pursuing a heart transplant for his son. Their paths collide during a robbery at a game room, setting off a morally charged narrative that invites viewers to question fate and accountability. This interview offers a deeper look at the performances and themes as the movie lands on screens nationwide.
The interviewer probes Tosar about what drew him to the Fatum premise.
The actor describes the story as unconventional and unpredictable. The opening moments feel like a social drama, then the pace shifts into a heist, and a final twist arrives that Tosar chooses not to reveal to avoid spoiling the experience. In the last act, ethical dilemmas recalibrate what audiences have seen before.
– He plays Sergio. How did he prepare for the role?
Tosar shares that preparation began with extensive reading and consultations with a psychologist who treats gambling addiction. He emphasizes that Fatum goes beyond a simple portrait of compulsive gambling; Sergio is a man who has faced and overcome his own addiction.
The conversation also touches on working with Tosar’s partner in the film, María Luisa Mayol, who plays his wife.
– How was the on-screen dynamic with Mayol, given the film’s intense family dynamics?
The actor notes that both he and Mayol step away from the characters to decompress after particularly heavy scenes. He highlights the importance of self-care for a father, given the central conflicts around parenthood.
– Does playing such a role linger after filming ends?
He explains that while characters are left behind, the energy of the roles can linger. It takes deliberate effort to separate fiction from daily life, and the emotional weight can fall on different partners in the story. He even describes a protective, almost spiritual duty within the family context.
The discussion moves to responsibility. Tosar reflects on how people carry both good and painful experiences, accepting duties while seeking clever ways to navigate life. Some characters in Fatum resist taking responsibility, wrestling with self-awareness and pride. The film invites viewers to consider how fear of not meeting imagined standards can shape choices.
The guilt theme becomes foregrounded. Tosar notes that guilt can arise at any moment, sometimes only after many years. He sees guilt as a consequence of upbringing that prompts a deep examination of whether it stems from moral, religious, or personal factors and whether different circumstances might have led to other actions.
– The movie also invites reflection on what defines a murderer.
Sergio is depicted as a man driven to the edge by guilt, often directing blame toward another character to avoid facing his own role. He acts from desperation and avoids confronting that a family visit to the playroom with his own children precedes the tragedy.
The discussion shifts to work life, questioning whether some characters are judged for choosing work on their own terms.
Tosar describes the role of a police sniper as unusual and rare in Spain. The character underscores that a single decision by a gun operator can determine whether a life is saved or lost, underscoring the gravity of the profession.
– Is there a wish to rewrite fate?
He answers with a restrained view: rarely. He has not faced a situation grave enough to warrant rewriting history, and while choices and missteps shape future outcomes, changing the past is not a personal fixation.
The interview also celebrates the rise of female leadership on screen. Tosar observes that more women hold prominent positions in cinema today, contributing to greater visibility and normalization of diverse roles. He stresses that progress still needs to be made across all areas, including how women are portrayed and treated in media.
– What about the portrayal of women and issues of objectification?
Tosar offers a candid view that progress has been uneven. He notes persistent over-sexualization in popular culture and media and calls for continued reflection on how these depictions influence audiences.
When discussing acting methods, Tosar reveals a practical approach that blends rehearsals, coaching, and adaptable on-set work. He emphasizes disciplined preparation paired with a willingness to improvise, describing the process as chaotic and demanding yet essential to capturing the film’s authenticity.
– After years of back-to-back projects, does this kind of work ever feel routine?
He concedes that the profession is demanding and irregular, with luck playing a role. Yet he regards the work as a privilege, especially in a climate where many peers endure long waits for opportunities. The sense of being part of a unique cinematic moment comes through in his reflections.
In summary, Fatum offers a provocative blend of social drama, crime, and moral inquiry. It challenges audiences to confront questions about addiction, guilt, responsibility, and the possibility of change. The performances, especially Tosar’s, bring depth to a narrative that resists easy answers and invites viewers to examine their own beliefs about fate and choice.