Sandra Faleiro, is to compete in the category for best actress at the Venice, with Meryl Streep, Juliette Binoche, Laura Dern, Penelope Cruz, and Scarlett Johansson. The character of the actress in the film, in Portuguese The Ground it is Eleanor, the wife of John (Albano Jerónimo), is a submissive woman, who will be revealing the ambiguities, which characterise all of the characters in the film.
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“The director, Paul’s Effort has always been the concern that it [a Leonor] it wasn’t just a cliché of the submissive woman, so we came up with a whole demand, to give it depth, and the points-of-view and ambiguity,” says the actress about her character. In the film, feeling that it has been highly praised in Venice, and has a debut scheduled for the 19th of September, at the rooms, national.
In the interview, the site is one of Them.English, Sandra Faleiro speaking on the condition of women, the character of the women in the country, and, of course, in the cinema, starting with Venice, whose jury this year is presided over by Lucrecia Martel and in the theater, and has had a long career that, in addition to representation, we also included in the act.
What does it mean to you, as coprotagonista in this film, The Estate has to be in the official selection of the Venice film Festival?
For now, he was in for a big surprise, I wasn’t expecting that to happen. This is the film festival is the oldest and it is a source of great pride. I really like the movie, I think it’s beautiful. So, I’m going to be in Venice proud. It was a very close-knit, and all the people gave everything for the shoot, and I think that it shows in the film. For me, it’s almost as if you were living in a movie-within-the-film [risos]. It’s all a bit surreal.
How is it that you would set in the West?
I think that Lisa spends a lot of it out there. She is a character in the universe! But just as it is mine as well as others. The characters in this film are very well built, and they are deeply human. They are all quite misleading, as we are all in this life.
This story tells of a family’s latifundiária and through the era of the dictatorship and the revolution of the 25th of April, which is the condition of women is also changing. How does your character evolve with these changes, all of them, as an individual, but also as a characterization of a woman in that time and in that social sphere?
In the movie, it was all part of the ‘ 70s, and that is the beginning of a marriage. In any case, the women, in those days, they were taught to suffer, to be silent and to endure, and to be submissive. Don’t put all of the things in question. The Niece was the daughter of the general [Lopo Teixeira]also, a dictator, and on top of that! It comes up with this tradition that the entire family, education and catholic-conservative. But with all the suffering she’s been changing all the time, and after the revolution, despite the fact that she is not to be a character in the policy, provides the policy for it. The West doesn’t have actual political discourse, it must be a little bit, but not too much to be explored. I think that the film is very much about family, the story of a family, which is characterized by the. Even so, in the West before settling down, in the end, they cut the cord, and there’s a kind of redemption in it. Now, in regard to the situation of women, things have changed, but there were still great inequalities, men are still earning more, they are the ones who occupy the management positions, the women are in work much more, because in addition to the job, go home and take care of children and household tasks, which often are not broken up. And yet there is a lot of sexism and a lot of misogyny. We live in a democracy, but there is still a lot that needs to be spoken to and dealt with and we need to continue to fight for our rights and gender equality, of course.
As I said, this is a film that is, above all, a story of a family, and a lot of times, the changes in law and social, they end up taking a longer time to come, perhaps in the midst, and the living family members.
Yes, yes, exactly. On top of that, in the case of the film, we’re talking about a family who lives on a farm. That is, it is also a kind of an island. And all the characters and all of them are the islands within the island. It’s as if all of them were enveloped in a fog. One of the most interesting things in the movie, which also happens a lot in reality, it is what it is not, it is said, is the one that brings you face to face, the one that’s going to accumulate and then breaks it in some way.
In addition to this festival, and The Farm was also selected for other prestigious festivals as the Toronto film festival, and is nominated to the prizes Goya, and there are even some critics who say that this is the first time that we have a strong candidate for the shortlist of the academy awards. Do you agree with the conclusion of many that there is a renewed interest in film language?
Things are starting to get it, because there are so many filmmakers, both new and now-the Changes are having a huge audience. I hope that it will help people to get back to going to the cinemas to see Portuguese films. And in this film, The Estate is no longer just a film, as an author, you have one side of the universal, which makes it too commercial, is right in the middle between the business and the author. This is not a film for “the elite”, and this is a very interesting one. And it is a movie! For me, it’s a classic, it’s shot in a way that reminds me of the those great classics of the cinema. We have filmmakers, a lot of good, and it is necessary to take advantage of this wave of creativity and it will nourish it and to sustain it, and that is the main problem that we have, both in the cinema as in the theatre. For example, James’s Award, which is an extraordinary achiever has been 10 years of not shooting. It’s insane! I hope that after this, he will have more opportunities, and to create the conditions.
The jury of the Venice this year, is directed by Lucrecia Martel. But, according to the director, there are only a few films directed by women this year. She reaches out for the throw in the possibility of quotas for women. Do you agree? Do you think that this could be a way out?
It could be, yes. But the question of quotas is always tricky, and I think that it is more difficult for women to accomplish something. I don’t know if that will change, going by the odds.
Sandra, who has no experience in acting, she also feels in a similar way compared to the drama of this difference in the representation of gender?
I have a lot of colleagues who are encenadoras, and that they are working with women who are out there to do this huge thing. What I do think is that there is a lack of funding.
But it is this lack of support is the same regardless of the gender, women are, perhaps, not so long ago, in this field, they find it more difficult to get hold of them?
Therefore, perhaps it is so: the man is a long time ago, isn’t it? Exactly. This is a very good question. The man is a long time ago, it’s almost like something ancient. We started a little while ago, in fact, to show, to direct, to conduct. It’s the truth. It is a tradition that the whole male-to-back, you need to hit. I think it’s just one, to be sure. But even going back to the question of the direction and acting, in general, it’s the way I feel is that there is, in fact, the question is always to be reckoned with in the politics of culture. I will do a re-enactment of the two-in-two-years old, and, perhaps, have liked a lot more than be on the stage for all of the years of the two parts, and it is very difficult to do because it’s impossible to be trying to survive on a day-to-day basis with this. There is no support for it. And the theatres are full. Therefore, they should support you the most, and one of the most innovative.
He said that he liked a lot of the movie, but what is it that you like the most?
That was the case. It was from those special cases, which are the processors, and when it does happen, it’s amazing, it makes up with it in our professional life, then do it again the meaning. It’s like a breath of fresh air!
How long have you lasted on this case?
I went to the casting call a month or so before they start filming in June, and by July 2018, and then the shoot lasted for two months, and each day was a discovery, because there has been a substantive work on the script, and as he was going to be filmed, the script was turning out. My character, Lisa, was [no guião] over the surface, it was just a picture of the spectral properties on the ground, but James’s Effort in the area of concern is that it wasn’t just a cliché of the woman as a submissive, and then we were there for a whole seeks to give depth, and the points-of-view and ambiguity.
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