27.03.2023 00:00 h.
The Barcelona auteur film festival (D’A) is the venue for the competition. There are many films of the first and second films, and some of them breathe unusual novelty. Is this the case for Dos perit i l’eternitat, a 55-minute medium-length film in which Marc Esquirol not only pays homage to two great authors of the Nouvelle Vague, but also prints love stories? They don’t have that vitality that other first films have seen on the big screen.
The reasons for this distributed editor are clear. On the other hand, the industry wants to bet its money, a lot of it, on a safe bet. On the other hand, the expectation of some new directors who want to do something big and with a lot of equipment. This is not the case.
Unfortunately and limitations
With 2,500 European coins obtained from the sale of the first car, Esquirol was able to make this film, as the father says, “the story of a boy who does not dare to kiss a girl.” but much more. The moment of rebuilding his life after the break and doing it with the passion to experience and enjoy, because of that he will spend the weekend with another girl with whom he ran away to Biarritz. no affection, no desire, no kiss, no life-force is contagious to the seers.
This joie de vivre is accompanied by dialogues taken from Rohmer and themes taken from Godard’s films, two other filmmakers who in their time had certain limitations to fulfill their work behind the cameras. and all without being pedantic and multi-faceted. It is a “game”, as the young filmmaker rightly says, that conveys that fun and joy. This is what he does in an interview with the Global Chronicle.
–Question: The idea clearly came from your experience, but at what point did you decide to turn it into a film?
–I answer: I am very sensitive, and when I lived this experience I thought of turning it into a film. I was 19 years old at the time, and there are no pages for 19-year-olds to make feature films or longer films, and the short film is more limited to express yourself. Faced with this problem of limitation, you start to think and go to movements like Nouvelle Vague or Dogma 95, waves that were created from limitations and few resources. They were shot in 16 millimeters and it’s a different story, of course, but it was clear that we were going to do it, knowing the limits and seeing how to bring them to our field so that they had something to encourage us. to make a move
Q: Did you have a premonition or, like the authors of the New Wave, did you jump into the pool?
— Well, I did Escac for a year, but I felt an impulse to make films and I took one year to make a film. I sold the car to have money, which was given to me 18 years ago. It was clear to me: all the filmmakers that I like are also filmmakers and when you’re creating, you’re looking directly at them.
–References that are clearly shown in his debut. Especially Godard, but what did they contribute?
— All the time I wanted to act in a movie, and I think this concept is clear, because when you play a movie, you do it even more shamelessly, because it is still a game, and clearly in the game you want to have your best friends, in this case, the filmmakers, who are the most present like Godard and Rohmer. I think this game is a basic idea and therefore I never hesitate to use those information. In the film, the details are taken from other films, and in it even basketball films are generated.
Frame from two days and eternity.
–And how do you feel that this game has led you to a festival like D’A?
–I never thought. I know it sounds embarrassing, but it’s not. I already did it on a whim and I thought I would present it in the room I rented or something like that. It was a pleasant surprise to me that D’A appeared. Also, what he liked is the lack of pretense, and the fact that the viewer can also jump into this game. From my side, many students, when they make a feature film, are on the ambitious side or want to make a film like it was made in Hollywood. The problem is that it is not clear what they experienced and what they did. This movie was not made as it is: I bought a camera for 15 coins on Wallapop. It’s a neat Handycam that records in HD and little else.
— That lack of simulation, the film’s touch, also indicates the moments of life without affectation.
–In D’A they tell about a generational and curious image, because young people are sometimes seen as people who tell everything more strongly and it is true that people who see a film commentary that is almost similar. walk, you will continue with these habits. I guess it’s also my thing to see. For I, for example, live very slowly with affection, and I imagine that I have seen it. Some of the rhythms we also see in Rohmer’s film, which I like, because it makes you feel comfortable, and it also gives space for the viewer to think about what he sees. It is very interesting that when we look at these small things in life, we think that the personal and the local are the most universal. When they talk to us about the smallest, most concrete things, when they also talk to us about the biggest experience.
Why the title, “For two and forever?”
–And because of the consideration of the time of the character. In addition, it is impossible for you to participate in the film and not be worried about the time, because the film is time and the filming is time. And the veil is a relationship that begins and ends in two days, or goes away unknown, but exists in the very moment, and will remain forever, in time. There is also something that is evident in one of my short stories, Les cose son asi, that happens during the pandemic. As things may be and in time, nothing. And the teacher told me the list of film capabilities (laughter), because it is true that Mac films with these WhatsApp, then some photos, especially Handycam, from the side. parents with Blackmagic, traditional fashion, animation, shots … but the viewer has a good time when these things happen.
Two days and an eternity Poster
–In other words, in addition to the lack of resources, this is an afterthought
It was a formal thought. Handycam formally represents youth and insecurity, and there is a momentary moment when they run through Bordeaux, a sequence in which, apart from myself in the mirror, I am actually present. In that moment, the camera is my body. It is something that I want to nurture, to try, to compose a movement, and to tell a movement. On the other hand, for the adult world, the premise was to shoot with too much planning, just to shoot boring, “professional” looks. An invitation to reflection. Marc Ferrer commented in u22 that not all films are made by young people, there are two different ones, it is young people who make old people’s films. And it’s true, it becomes a lot as you get closer to it, it becomes an old movie. If young people can contribute anything to the cinema, it is weediness, impudence. If we are shameless and very irreverent, we must use it.
–Or because you think the film is somewhat boring?
— We must play. In film schools, they teach that you have teams of 25 people and that a very serious atmosphere is generated, because you also have the responsibility of being the director of the whole team, even more of the time, because of course tensions are generated. I’m sorry he does this.
— Tapestry inspires that youthful spirit, but it took you years to awaken it. 19. You were 19 when you sold the car and you’re now 23. Do you find it difficult to make your film like young people?
— I like that I lived the story 18 years ago, I wrote it at 19, I was able to send it in the summer of 2010, then the pandemic came and it was a bit of a soup and I ended up eating it. and all in the summer of 2022. All this was two years after production. I didn’t know the complexity of going into post production. When you are young, you are rustic, you see writing and shooting very clearly, but then procrastination. And when you don’t have a budget, the movie works, but the post-production couldn’t last less. Suppose a movie is about 2,500 coins, when really the film industry is made with 200,000 coins, it’s crazy.
Frame from two days and eternity.
But not even for universities or Escac?
–It does not please. Escac’s vision is that very different directors have come from it, but it is still one in five promotions, when there are really 500 students in each promotion. I think I was lucky, it’s not a feature length, but it’s my debut, 55 minutes. Now if you do a lot at 35 or 38 years old, you are young and emerging. At 38 years old! That’s a 15-year perspective for me, who is 23. But I am a very active minded person and I already have two lengths that I want to make and shape. The roads are very long, and when you get to the long way, you have a very clear idea, because you will have about eight years more or less. I don’t want to, because the industry is losing so many young voices. My vision at 23 is less rural than at 19, so I think at 38. It’s interesting to capture those voices of 19- and 20-year-old filmmakers. But we have to be honest with ourselves. My father, when the script was read for the first time, said to me: “This is a movie about a guy who doesn’t dare kiss a girl.” And indeed, on the level it is more pleasing, but certainly many young people will connect with this shame and this investment.
— Even if we want to attract young people to the theaters, do we have them tell a story?
— Yes, but I understand clearly that if you make a movie for 20,000 coins and play with some mortgages, you have to trust people or someone. What I would like to see happen with the film is that it encourages young people to make their own, because it is not necessary to make the first film with 200,000 European coins. It’s very strange that with your first movie they want you to do a big movie or something spectacular. The first films that come to us are Meeting Dogs, Aftersun, but the film is outside the industry.