Yes, we are lucky to be able to maintain a tour that began in 2019, which was totally interrupted and we have resumed in September. We have come this far and each gig is a conquest and a small miracle for which we are deeply grateful as actors and as individuals to continue to have hope and to show that we want to consume culture. It makes me very happy to see the stalls full within the restrictions. And also in Alicante, a city that I adore, where I have been very happy at different times of my life.
Do you feel that the culture sector has been mistreated?
This sector, like many others, has suffered a lot and I believe that we are at a time when we are rising again. But we have had a bad time. The pity is that many functions, many companies, many technicians, many actors have fallen by the wayside. We closed the first and returned the last. It is not a complaint, it is a reality from which we have to come out stronger. But it is true that we have realized that culture, which is the food of the soul and what identifies us as a society, has been basic.
Daniel Guzmán, director of this montage, says that the work raises some questions such as how far does the limit of our privacy go. Well, how far?
It is complicated and it has also changed a lot in recent years with the emergence of social networks, something that everyone puts the limit on. But in this function we talk about what it is that I have the right or not to hide, to what degree it affects the other that I hide certain things, what would happen if I showed them, what would change the vision that others have of me. This is the order of the day with this hypercommunication and society of the image in which we live, in which everything enters through the eyes. It is a very interesting current reflection and throughout the show we see that these elections have consequences. It is a cañera and scathing comedy but a very current reflection.
The consequences of this pandemic, among other very painful ones, are the loss of freedoms and the fact of living in fear
Are you a lot of social media?
I go on streaks. The truth is that it has become a useful tool that I enjoy very often and with which I sometimes have a love-hate relationship. Sometimes I get saturated and I notice that it takes up too much space in my day to day and other times it leaves me amazed with things that I learn from other people, it opens up a fascinating world. That is my struggle, to find the right place. Do not lose sight that the real is here and now. Sometimes it seems that if you don’t count it, it doesn’t exist, but it doesn’t. We should not feel guilty or demanded for having networks.
In the series La Valla (Netlix) you star in a dystopia in which in the future Spain faces a virus in a dictatorial society … Fingers crossed.
Yes, of course. It was a series we shot before we had any signs of pandemics. In that sense, in the end a dystopia drinks from the collective fears that we all have. It is science fiction but it is based on things that are thinking to us. The fear of climate change, dictatorships, class differences, racism, that the end justifies the means. As an artistic and technical team, we had been imagining a world that to a certain extent suddenly came close to us and reality surpassed fiction. The consequences of this pandemic, among other very painful ones, are the loss of freedom and the fact of living with fear on a daily basis. I miss that spontaneity of the hug, not seeing the other potentially dangerous.
Do you think there is also a disaffection with politics today?
I do not know. I don’t have enough tools. But what happens at the global level amazes me and the management of each country is what we have to deal with as citizens. I stay more with what each one of us can do individually.
Yours with the world of interpretation was written. You are already three generations of artists, starting with your grandfather. Do you see wood in your children to continue with the saga?
I am very cautious in that regard. It is a profession like any other, you are free to choose what comes your way and we will accompany you no matter what you choose. But I neither encourage nor idealize it. It is a very hard profession that has to be born from a real vocation, if not, it is very difficult to sustain.
Do you think your career has been more difficult for being a woman?
Let’s see. Not that I have seen that my career as a woman has been more complicated. As a woman, as a mother, as a professional, I see the demands placed on us. I feel pressured by having to be mother ten, take care of my body as I age, be an excellent professional, have time for yourself but for others … I think there is a lot of work to do as a society. There are a lot of demands that come from outside and it’s okay not to be in a long distance race all the time.
Series, movies or more theater?
Luckily we continue with the Perfect Strangers tour until summer, then I have theater projects and I’m starting to shoot a series. I’m happy. Grateful to continue working.
How did you see your mother, Ángela Molina, collecting that Goya de Honor in such a complex year?
They were very emotional Goya, first because they were the Goya almost from rebirth. I was very proud of the work done by all the colleagues who were there at the foot of the canyon. And it was also the one in which they gave the Goya of Honor to my mother and it was very exciting. A very great moment. Very happy for her.
Eddie is an Australian news reporter with over 9 years in the industry and has published on Forbes and tech crunch.