Following Goya, Cesar and Catalan Gaudi prize wins for short “The Disinherited” which also won a Cannes Discovery Award, Laura Ferrés’ debut feature “The Permanent Picture” is setting its sig…
Following Goya, Cesar and Catalan Gaudi prize wins for short “The Disinherited” which also won a Cannes Discovery Award, Laura Ferrés’ debut feature “The Permanent Picture” is setting its sights on the Golden Leopard at theDrawing from a rich tapestry of personal and historical narratives, Ferrés showcases her distinctive approach to storytelling, blending dry humor and captivating cinematography with a resonant narrative.
The film does not shy away from the harsh realities of work and life, presenting a candid portrayal of the challenges and precariousness associated with employment. It also explores the idiosyncrasies of different eras, offering a deep dive into the social, cultural, and political dynamics of Spain. The dry humour often stems from Carmen, played with deadpan aplomb by Maria Luengo.
The film takes inspiration from the stories of workers who migrated from Andalusia to Catalonia. Can you speak to how these real-life narratives influenced your approach to storytelling in the film? I’d also like to highlight another real element introduced in the film: an advertisement from the pharmaceutical company Bayer with Our Virgin of Carmen to sell aspirins when Catholicism was imposed during the post-war. Although the film also portrays today’s advertising world to see how the Catholic religion has been supplanted by the religion of the market. However, the film tries to avoid moral judgments, and even embraces taboos.
Not all decisions are rational, and some elements appear just because they respond to my way of being in the world. But since you ask, humor saves me, and I am a music lover: as I said before, I heard singing at home since I was little. Darkness and tenderness are some of the dualities on which the film works so the unexpected appears when these opposites meet.
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