THE GIRLS ARE GOOD

There is something ironic about Irene's character questioning the tone of the play. During filming there were times when we cut the rehearsal of the play and the actresses didn't know whether we were continuing filming or not, because the film has those games between fiction and reality. And one of those times I approached Irene and asked her how she had seen the rehearsal and she answered me with doubts, and that's when I told her if it was because of the tone and she told me yes, which she found very strange. So criticizing the tone is a kind of awareness of the film itself. I think tone is the crux of this work, how we treat universal, existential themes with lightness. Issues such as love, orphanhood, death, friendship between women, companionship, acting are addressed... but with a quite particular tone, unprejudiced and wild, without rules. Inevitably my film school has been the Ilusa school and these years I have been learning about how they shoot, their philosophy of film, the coherence that their productions have... and in some way it has been through living those shoots where I feel that there is a philosophy of cinema that I can continue, recreate. That is to say, there is a way of making films with few resources that I understand well. If I had trained in a much more industrial or bombastic cinema, I would most likely have felt that being a director was an impossible thing. So, although I found it very challenging, I do believe that it is a possible cinema, on a human and sustainable scale (in fact, we have been told that we are an example of ecological filming). This is a movie that can be made with friends.