THE CASTLE

I started writing the life of Justina and Alexia in narrative, as if it were a story, it was also a full pandemic and I needed to do something, and there I decided that the film was going to be in the present of the protagonists: a mother and daughter about to separate. . Of course there were other plots: Justina's promise to take care of the castle, her long-distance boyfriend, her relationship with the former owner's family. But I decided that the heart of the film should focus on the mother-daughter bond. Obviously the script was modified, even during filming itself. The text was a guide so that the story had a more or less story-like form, but specifically it was a tool to have triggers in motion. The idea was to create the conditions for Justina and Alexia to stage their bond within the game that the film proposed to them. Justina's story is a crack, an error in the system. I think the film talks about the enormous contradictions of our class system, and how heredity strongly defines belonging to a social class. I say inheritance in a broad sense, like everything inherited. The material and the symbolic. That's why I see that class belonging is so visceral, because it is linked to something very primary. The point is that we read class membership in terms of ranking. There are no different social classes, there are better and worse. I see now, in the middle of the presidential campaign, that many people do dialectical juggling to explain a political position that is driven by the refusal to be part of “the popular.” I believe that, as long as we continue to despise what is understood as popular, the social fabric will hardly have the form of a network.