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<\/p>\n\uf0d8 Director Jos\u00e9 V\u00edctor Fuentes leads an ironic review of his life and bonds, equipped with plenty of real material\u2026 and a desire to mislead his close friends and relatives<\/p>\n
\uf0d8 \u201cFor me, everything is cinema. And in this case I take that to the limit: I turn myself into a character that is part of a tale\u201d, points out the filmmaker<\/p>\n
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Las Palmas de Gran Canaria, Tuesday April 13, 2021. Sometimes Love<\/em><\/strong> (2020) is a perfect demonstration of self-criticism. Of how a lot of times there\u2019s no need of taking oneself too serious in order to be truly important. Jos\u00e9 V\u00edctor Fuentes<\/strong> does in this film, now arriving to the Canarias Cinema section of the Las Palmas de Gran Canaria International Film Festival, what he refers to as \u201cautofiction\u201d. Something he has managed to bring to life thanks to lots of real material, false-documentary-like shooting, an always ironic but nonetheless tender look at his own privacy and a desire to mislead his close friends and relatives. Although, above all, \u201cit is an analysis of my life, mostly since I met my girl. It\u2019s a journey towards our inner selves. And in this journey what I find is love.\u201d<\/p>\n The girl is photographer Virgina Park, codirector of photography in the film, because, among other things, a good deal of the real material compiled by the self-defined \u201ccinephagus\u201d is hers. Someone who had the idea of filming, for instance, the pregnancy test result that confirmed his paternity, his partner\u2019s later reaction and instant panic in front of the mirror. Fuentes claims in Sometimes Love<\/strong><\/em> that \u201cbecoming a father ruined my life.\u201d But, of course, \u201cIt\u2019s pure irony! It\u2019s a good thing it happened like that.\u201d<\/p>\n The piece is a journey through an initially clich\u00e9d 40s crisis: a review of real life that, around the middle of the film, shifts \u201ctowards what could\u2019ve been.\u201d The director doesn\u2019t want to reveal \u201cwhat is true or a lie. For me, everything is cinema. And in this case I take that to the limit: I turn myself into a character that is part of a tale.\u201d He does it keeping in mind that he takes a risk, because \u201csometimes people don\u2019t understand that irony. Like when you tell someone he\u2019s a turd and in fact what you\u2019re expressing is that you love him a lot.\u201d<\/p>\n That\u2019s why Fuentes always treated his project \u201cas a fiction film. It evens follows the structure of the hero\u2019s journey, and ends with the return home. The character discovers that meditation and silence make you find yourself. And that takes you to love. Meditation and silence, by the way, are real things in my personal life.\u201d The filmmaker, in any case, is convinced that \u201csometimes, to tell the truth you need to lie. And serious stuff needs to be told sort of joking.\u201d<\/p>\n Was the process complicated? Yes, without a doubt. Up to the point that he ended up having 39 different versions. The last one seems to be the good one, the one arriving to Canarias Cinema. It\u2019s been \u201cfour years of editing. I failed all deadlines. I took off an entire part I had shot in New York. But the truth is I had a lot of fun making it and, above all, editing it. Seeing it like that makes it seem as if I had written a script or something.\u201d<\/p>\n And despite all that, Fuentes doesn\u2019t think of himself as a real editor \u201cwhich it seems to me like a serious word. I just edited it. And I did try to find a real editor, but in the end I thought that it was me who had to organize all that. I knew and I didn\u2019t know what I was doing. I couldn\u2019t tell anybody, I couldn\u2019t explain what I really wanted, because I was finding it out. It\u2019s true that Octavio Guerra was with me for two and half years as if he was the editing\u2019s Jiminy Cricket. He\u2019s been my spiritual advisor.\u201d<\/p>\n Such ups and downs with the editing took a toll on him, making him suffer, lose faith in the quality of the work. But in the end, always trying \u201cto avoid a film full of hearts,\u201d Fuentes managed to tell us \u201ca tale: it\u2019s a lie, although it tells a real truth.\u201d<\/p>\n Prior to this piece, Jos\u00e9 V\u00edctor Fuentes<\/strong> has made several short films and three features: 90 minutos & I love you<\/em> (2011), La Luz de Mafasca<\/em> (2012) and 11211<\/em> (2014), which received a Jury Special Mention at the Las Palmas de Gran Canaria International Film Festival. He\u2019s been, too, the promoter of La Palma\u2019s Festivalito: a festival that has produced many filmmakers in the Canary Islands. \u201cI\u2019ve taught no one to make cinema at the Festivalito,\u201d stresses the director, \u201cI just kicked a ball and a lot of people started to play with it.\u201d<\/p>\n In regards to the Las Palmas de Gran Canaria International Film Festival, Fuentes recalls that \u201cI\u2019ve premiered there nearly all my works. It\u2019s a Festival that allows a very interesting meeting of people. There\u2019s healthy competition. And you learn from others, not only when you watch their short films, but also when you talk to them. In my case, what I\u2019ve watched the most it has been Canarian cinema.\u201d<\/p>\n Sometimes Love<\/em><\/strong> is screening at noon this Wednesday April 13 at Cinesa El Muelle\u2019s Screen 9. There\u2019ll be another screening at 7 pm that will include a previous introduction by Jos\u00e9 V\u00edctor Fuentes. The event is subject to all security measures fighting the spreading of COVID-19, so masks are compulsory and social distances need to be observed at all times during screenings.<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" \uf0d8 Director Jos\u00e9 V\u00edctor Fuentes leads an ironic review of his life and bonds, equipped with plenty of real material\u2026 and a desire to mislead his close friends and relatives \uf0d8 \u201cFor me, everything is cinema. And in this case I take that to the limit: I turn myself into a character that is part of a tale\u201d, points out …<\/p>\n","protected":false},"author":25,"featured_media":17162,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[401],"tags":[],"class_list":["post-17164","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\/17164","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=17164"}],"version-history":[{"count":0,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/posts\/17164\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/media\/17162"}],"wp:attachment":[{"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/media?parent=17164"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/categories?post=17164"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lpafilmfestival.com\/en\/wp-json\/wp\/v2\/tags?post=17164"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}