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Las Palmas de Gran Canaria. 10\/04\/21. 20 edici\u00f3n Festival Internacional de Cine Las Palmas de Gran Canaria. Pase gr\u00e1fico y encuentro con medios del director David Trueba. Foto Quique Curbelo<\/p><\/div>\n
Las Palmas de Gran Canaria, Saturday 10 April, 2021.- Writer and director David Trueba<\/strong> presents at the Las Palmas de Gran Canaria International Film Festival\u2019s 20th edition his latest film A este lado del mundo<\/em><\/strong>, a reflection on the eternal migration conflict that is close to the documentary genre. This look at Melilla\u2019s migratory drama and at its fence arrives to the Festival with two screenings scheduled on April 10 and 11 at Cinesa El Muelle\u2019s screens, the first one including an introduction by the filmmaker.<\/strong><\/p>\n It was a challenge and Trueba understood it. He wanted it to be a film with a classical exterior format, so it was shot in just two weeks in Melilla. A este lado del mundo<\/em><\/strong> is \u201ca very guerrilla-like film because of the way in which it was shot\u201d, but he wanted to be in Melilla. \u201cLooking onsite at the fences is really impressive, seeing how it extends around the city separating two worlds \u201c, claimed the filmmaker who manages to capture in his new film a very neat approach to the autonomous city\u2019s coexistence with migration.<\/p>\n Starring Vito Sanz, Anna Alarc\u00f3n and Zidane Barry, a youngster from Guinea Conakri who jumped the fences when he was fifteen years old, this modest film gets spectators closer to the reality of this drama through subtle touches of humor, while getting away from predictable plots or approaches and inviting spectators to observe and debate from an unexplored perspective.<\/p>\n David Trueba<\/strong> said during a press meeting on Saturday morning that the world makes technological, scientific and intellectual progress, but nevertheless there are still very primitive things. Building border fences so that people don\u2019t get through is something that takes us back to 4,000 years ago and yet we haven\u2019t realized that \u201cthat doesn\u2019t work and is a mistake\u201d, he regretted<\/p>\n \u201cThe more you make an entry access difficult, those who come go through another place\u201d, he added. In that sense, he compared it with the situation the Canary Islands are living in regards to migration. \u201cIt\u2019s the same thing they felt in Melilla when I was filming there\u201d, he recalled, the feeling that they are abandoned and stayed on the border\u2019s first line. Trueba wanted to stress that immigration is one of humanity\u2019s biggest problems and \u201cit should be faced with greater dignity\u201d.<\/p>\n In Al otro lado del mundo<\/strong><\/em>, explained its director, \u201cI wanted to make a film that wasn\u2019t the usual way of tackling this problem from the journey\u2019s epic point of view, of almost always managing to go through very positive African characters, sometimes cute kids with very pretty eyes who suffer a lot but, in the end, get to Europe\u201d. \u201cFor me, those are films that accomplish one function: calming our European consciences so that we can sleep peacefully\u201d, said the filmmaker.<\/p>\n His idea, he explained, was to put at the center of the film a somehow indifferent character representing the average Spanish person, who is not ideologically or socially involved in the migration issue. And how without realizing it, those people are used for the damaging and indignity campaigns which attempt to solve this problem and end up failing. Trueba wanted to change that point of view while \u201cmaking it more uncomfortable for western audiences\u201d. \u201cI\u2019ve always thought that in order to tell a story from a certain point of view, you need to know it, you cannot do it in an artificial or opportunist way, therefore we have to narrate this problem from within ourselves\u201d.<\/p>\n Like in his books, where he goes from the first idea to the character, in Al otro lado del mundo<\/em><\/strong>\u2019s case the first that came up was the character, whom he named \u201cMr. I don\u2019t know\u201d because he represented a lot of people, since nobody gave answers. The idea of how we end up being used just by being neutral comes from that, and \u201cVito\u2019s character is someone like that, someone who doesn\u2019t have a clear idea of what the migratory issue is and nevertheless gets a job offer he needs to do when he realizes that he is doing a job that contributes to maintain that status of violence, lack of understanding, of being a stopgap\u201d.<\/p>\n He humbly admitted that he isn\u2019t looking for social impact with this film, but he does attempt to be \u201ca tiny drop that falls and falls reminding everybody that things are not as simple as they are told, but more complex and difficult, without an easy answer. You try to be a drop of water in front of the massive trend that says we have to live facing and fighting each other constantly.<\/p>\n Trueba\u2019s film arrives to the Las Palmas de Gran Canaria International Film Festival after appearing at Malaga. This migratory drama is screening on Saturday 10 at 6:45 pm with a previous introduction by the director, and on Sunday at 4:45 at Cinesa El Muelle.<\/p>\n The Film Festival\u2019s full program is available at lpafilmfestival.com, and tickets are on sale through their seats\u2019 traditional portals: entrees.es for Miller\u2019s programming (Camera Obscura, The Freakiest Afternoon and certain special sessions related to French filmmaker Chris Marker\u2019s centenary anniversary); and at cinesa.es (Cinesa\u2019s website), which offers the rest of the program, except for D\u00e9j\u00e0 Vu, which will be screened at the Elder Museum of Science and Technology (where MECAS will be held, too).<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" \uf0d8 The director and writer presents at the Film Festival his take on migratory drama with his latest work, a reflection with a documentary-like tone \uf0d8 The audience will be able to enjoy this double special session today Saturday at 6:45 on and tomorrow Sunday at 4:45 pm<\/p>\n","protected":false},"author":25,"featured_media":17035,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"rs_blank_template":"","rs_page_bg_color":"","slide_template_v7":"","footnotes":""},"categories":[401],"tags":[],"class_list":["post-17041","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/posts\/17041","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/users\/25"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/comments?post=17041"}],"version-history":[{"count":0,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/posts\/17041\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/media\/17035"}],"wp:attachment":[{"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/media?parent=17041"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/categories?post=17041"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/tags?post=17041"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}