“Fatum,” the debut feature from Galician filmmaker Juan Galiñanes, arrives in theaters today. The film, told in Galician, features Luis Tosar and Álex García in lead roles. The Lugo-born Tosar portrays a gambling father who fights to keep his family intact, while a translator from the Canary Islands plays a police officer seeking a heart transplant for his son. The two characters converge during a robbery at a game room, and what follows is an emotional, morally charged thriller that keeps viewers on a roller coaster ride. The film blends crime, dialogue, and tense moral inquiry, never wavering from its provocative questions about fate and responsibility. This interview sheds light on the performances and themes as the movie hits screens now.
The interviewer asks Tosar what drew him most to the Fatum scenario.
The actor describes the narrative as unusual and unpredictable. The opening minutes feel like a social drama, then the story shifts into a heist, and later another turn arrives, one Tosar chooses not to reveal to avoid spoilers. In the final act, ethical dilemmas emerge that reframe what audiences have seen earlier.
– You portray Sergio. How did you prepare for the role?
Tosar explains that he began with substantial reading and consultations with a psychologist who treats gambling addiction. He emphasizes that Fatum is not merely about compulsive gambling; Sergio is a man who has confronted and overcome his addiction.
The interview also touches on working with Tosar’s partner in film, María Luisa Mayol, who plays his wife.
– How was the experience collaborating in real life with Mayol, given the film’s intense family dynamics?
The actor notes that he and Mayol have previously stepped away from the characters to decompress from the drama. He highlights the importance of self-care for a father, given the film’s central conflicts surrounding paternity.
– Does playing such a role affect you when you go home?
He explains that while one does not take characters home, energy from the roles can linger. It requires effort to separate fiction from daily life, and occasionally the emotional weight settles on different partners in the story. He even mentions a protective, almost spiritual responsibility within the family context.
The conversation then moves to responsibility. Tosar reflects on how people carry both good and bad experiences, accepting duties while also seeking clever ways to navigate life. Some characters in Fatum resist accepting responsibility, wrestling with self-awareness and pride. The film asks viewers to consider how fear of not being as capable as imagined can shape decisions.
The guilt theme is brought to the foreground.
Tosar notes that guilt can be ever-present, sometimes surfacing only after many years. He sees guilt as a consequence of upbringing that invites a deep examination of whether it stems from moral, religious, or personal factors, and whether one could have acted differently if circumstances were different.
– The movie also invites reflection on what a murderer is.
Sergio is portrayed as a man driven by guilt to the brink, often condemning another character as a means of shifting responsibility. He acts out of desperation and avoids facing the fact that a family playroom visit with his own children precedes the tragedy.
The discussion shifts to work life, questioning whether some characters are blamed for choosing work on their own terms.
Tosar describes the role of a police sniper as unusual and rare in Spain. The character suggests that a single decision by a gun operator can determine whether a life is saved or lost, underscoring the fragility and gravity of the profession.
– Is there a longing to rewrite fate?
He answers with a restrained view: rarely. He has never faced a situation so grave, and while choices and errors shape future outcomes, the idea of rewriting history 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 visibility and normalization of diverse roles. He stresses that progress continues to be needed in all areas, including how women are portrayed and treated in media.
– Regarding the portrayal of women and objectification, what are your thoughts?
Tosar shares a candid view that progress has been uneven. He notes persistent over-sexualization in popular culture and media and calls for continued reflection about how these portrayals influence audiences.
When speaking about acting methods, Tosar reveals a practical approach: rehearsals, coaching, and on-set adaptation. He emphasizes a blend of disciplined preparation and 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 it is a demanding, irregular profession and that luck plays a role. Yet he considers the work a privilege, even in a climate where many peers are left waiting for opportunities. The sense of being part of a unique moment in cinema 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 refuses to settle for easy answers and instead invites viewers to examine their own beliefs about fate and choice.