Taking part in the Malaga Film Festival and opening the event can be a liberating choice for a director looking to unwind without the pressure of competition. That was the stance of a seasoned director alongside a newcomer, a pairing that highlighted a mood of calm confidence as they presented a project. The collaborator, who had gained recognition through prose, has also contributed to cinema as a screenwriter and occasional performer, proving versatility in a demanding industry.
At the Andalusian gathering on a recent Friday, the team introduced Someone to Take Care of Me, a four-handed film driven by three women: Magüi Mira, Emma Suárez, and Aura Garrido. In the film, a grandmother, mother, and daughter navigate early tensions and intergenerational jealousy before discovering paths to mutual understanding. The release also marks a literary milestone for Elvira Lindo, who is preparing a new novel, In the Wolf’s Mouth, due out later this spring.
The press recalled how the film’s genesis traces back to an unpublished story from the author, a thread that has been carried through multiple projects. Over twenty years, the industry has evolved, gaining prestige and providing greater opportunities for creative collaboration. Not every story needs a traditional script; in this case, the material was refined through joint development, with casting decisions contemplated during the early stages and refined through observation in Madrid streets, culminating in a shared filming experience.
In conversation, Féjerman noted that Elvira brought a roughly twenty-page story to the table, one she believed could be transformed into a feature. They collaborated closely, shaping the project with actors envisioned from the outset and drawing inspiration from real-life surroundings rather than sticking to a rigid plan. The result was a collaborative process that grew into a full-screen production.
like Woody Allen
The idea of transforming a personal story into cinema had long attracted several producers, though decisive steps only came when the writing and its cinematic potential became clear. A reference to Woody Allen crossed the discussion, serving as a reminder that some stories can blossom into film when passion and payoffs align, turning a manuscript into a movie with a life of its own.
Aura Garrido takes on Nora, a rising film and theatre talent who was once offered the lead in Chekhov’s The Seagull. Her grandmother Magüi Mira embodies a former era of stage prominence, swept up in the vibrant 1980s while navigating the challenges of motherhood and professional life. The filmmakers describe the project as a meditation on how reality can outrun expectations, with age bringing a new capacity for empathy and forgiveness. The trio learns that the mistakes made by their mothers are sometimes mirrored in their own choices, yet judgment is softened by shared experience.
The film also explores the most intricate dynamics beyond the central trio. Emma Suárez, portraying the younger Nora, anchors the emotional core as she uncovers family secrets. Féjerman explains that the actors’ dedication to theatre infuses every scene with heightened emotion, allowing a raw, unfiltered expression. Suárez’s character grapples with aging while feeling overlooked, a tension that resonates deeply with viewers who have experienced a similar sense of stalled youth in adult life.
These character portraits offer more than entertainment; they illuminate a generation’s shift in values. The broader question considers how women of that era redefined motherhood and personal freedom, challenging outdated norms while embracing a broader spectrum of life choices. The narrative embodies a candid exploration of imperfect motherhood and the evolving role of women who seek to balance ambition, family, and identity. This perspective aligns with recent literary reflections that interrogate the costs and rewards of lifelong self-discovery, inviting audiences to reevaluate their own assumptions about family and success. The project thus stands as a thoughtful mirror of contemporary life, captured through intimate performances and a script rooted in lived experience. (attribution: Malaga Festival coverage, press materials)
the most complex
Beyond the central trio, the young Nora’s journey—paired with a sequence of revelations—serves as a catalyst for the ensemble’s emotional exploration. The performers’ commitment to stagecraft channels a powerful, almost tangible energy into the film’s atmosphere. This intensity allows the narrative to be less about dialogue and more about presence, expression, and the unspoken bonds that connect generations. The result is a film that invites empathy while acknowledging the imperfect, messy realities of life. It is a portrait of how people adapt, forgive, and redefine their relationships as time marches on, sometimes in unexpected directions. (attribution: festival program notes)
The film’s examination of its era through the lens of three women offers a portrait of how a generation reconfigured motherhood, independence, and ambition. The women’s stories intersect with broader social shifts, reflecting a moment when personal choice became a defining measure of freedom. The creators sought to present a nuanced, nonjudgmental view of those choices, recognizing that growth often comes from acknowledging past mistakes rather than erasing them. The work is a candid exploration of resilience, sacrifice, and the complicated joy that accompanies personal growth across generations. (attribution: interview transcripts)