Juan Diego Alt makes his directorial debut with En los margines, a film that addresses eviction with honesty and humanity. It centers on the people at the heart of the story, portraying their fight for dignity. This project is the culmination of years of collaboration with his partner, journalist Olga Rodríguez, who helped collect many of the stories and shaped them with respect and a clear political and social purpose.
Have you always wanted to steer?
I once considered directing but never felt the urge strongly until now. Storytelling has always been his passion, and the stage offered a natural outlet. The project came together gradually through extensive research, and after sharing the script with trusted friends, including Fernando León de Aranoa and Penélope Cruz, the encouragement was unanimous: this is a path to pursue. It didn’t feel forced, it felt inevitable.
How did you want to approach the story?
The guiding idea was to render the world as realistically as possible. The film aims to document the precarious lives depicted, using a handheld camera and long lenses to deliver an observational feel. There was also a sensory goal: convey instability. The characters tread on the edge of the abyss, so the audience should sense their unease, the unsettled, dizzying atmosphere that lingers long after the screen goes dark.
Does this have anything to do with the fact that the movie takes place in 24 hours?
Throughout the narratives, the threat of eviction hovers, a constant presence akin to the sword of Damocles. The subjects live with ongoing pain, a pressure that feels like it could snap at any moment, yet the film compresses that years-long agony into a single, intensifying day.
Do you think there are prejudices against social cinema in Spain?
He hesitates to condemn, but notes that cinema mirrors society and moves with it. The shift to the right in public discourse over the last decade has influenced how topics like eviction and occupation are discussed, yet Spanish cinema remains diverse. Precarity is rarely counted as part of the conversation, even as it informs many stories.
Is there a direction in our cinematography that you think we’re advancing?
The era’s quota policies have, in his view, helped catalyze a broader emergence of new directors and writers who bring fresh stories to the screen. This renewal matters because it introduces narratives that were missing before and invites audiences to see the country through renewed eyes.
She seems to want to pay her respects to the female warriors in the movie.
He notes that roughly four-fifths of housing council participants were women. Men often felt reluctant to admit poverty, yet their involvement sometimes led to empowering actions that challenged entrenched authority. The project does not sensationalize tragedy; it respects the truth as it unfolds on screen and acknowledges the complexity of each personal story.
What do you think the reaction of the movie rights will be?
Tough talk fills social media and political commentary about the film. Critics have labeled the work in various ways, some dismissive, others curious. The filmmaker has heard the rhetoric about subsidies or criminality, but emphasizes that the movie aims to illuminate lived experiences rather than promote a single political stance. The hope is that audiences will judge the film on its own terms.
After the success of the theatrical production A Year Without a Moon and his involvement in Suicide Squad, what came next?
He jokes that he shared his work with James Gunn, describing it as an unexpected but thrilling experience. The contrast between a high-profile genre project and En los margines underscores his range, while affirming that both ventures reflect a commitment to storytelling in different, equally bold forms. This is the kind of creative leap that anchors his career to meaningful human narratives. [Citation: Interview with Juan Diego Alt, 2024]