As usual, José Celestino Campusano deals with injustice, with perverse and established orders, passively accepted. The Spider’s Lullaby is different from the rest of Campusano’s films, but always with a critical view of what he portrays. Claustrophobic, with a hidden violence and dialogues as protagonists, The Spider’s Lullaby shows a reality that keeps recurring, regardless of place, space, geography or classes.
The Spider’s Lullaby presents a macro conflict in a microcosms, the abuse of power, regardless of the place where it occurs. How did you come up with the idea of the film and up to what extend is it based on real events, gathered anecdotes or simple observation of everyday situations?
The Spider’s Lullaby is our eighth participation in a competition and it’s probably our most veracious film in terms of reproduction and speech. Most of the situations actually happened six months before shooting and in a single place. Thanks to eye witnesses, we were able to record that substance that numbs us and that makes us accomplices of that we hate so much. Just like the rest of our films, The Spider’s Lullabycomes out of the power and unconditional nature of the true anecdote.
Would you agree that The Spider’s Lullaby is different from the rest of your films, but of course without losing your authorial style? Is there a new way of narrating violence and discrimination?
Absolutely, but without moving away from our principles of creation regarding cooperation and integration of the community in terms of content, production and personification. This type of violence denigrates and seduces us in a context of pseudo coexistence and convenience.
What is your method for directing actors?
My method has to do with respecting heterogeneity in the ways of speaking and in the handling of body language. I believe in general terms that television or industrial products tend to flatten individuals, homogenizing them, when the real thing is the diverse, personal and unexpected of each person.
How did you work from the scrip that lullaby, the latent implicit and explicit violence manifested in the dramatic progression and in those characters immersed in a naturalized passivity?
It’s a story that was shaped during editing; there appeared the rhythm we believe suits it best.
Your history with the Festival is vast and close. What are your expectations regarding the exhibition of The Spider’s Lullaby and the contact with the audience in this 30° edition?
Our beloved festival is, undoubtedly, the Mar del Plata International Film Festival and, consequently, its audience. I think this audience truly values the narrative risk and the rough undertone we seek to give to all of our productions.
SAT 31, 10.20 am, ALD 5
SAT 31, 6.50 pm, ALD 5
WED 4, 11.00 pm, PAS 1