Todo mundo tem uma Tia Virgínia? Vera Holtz fala sobre as relações familiares em seu novo filme

  • last year
Transcript
00:00 When you are interested in a job, you are interested in everything, in what it brings, not only in the Virgin.
00:09 The Virgin was a work of layers that you discover later.
00:12 She is a woman who has a lot more, a woman who weaves a whole scheme to protect herself and also to free herself.
00:27 I was very entertained from start to finish, I was very caught up in the theme of the passage of time,
00:33 especially as a person who did not follow the card.
00:36 What will happen to her from now on.
00:39 But I wanted to know from you what was your starting point, what was the emotion that started to start telling this story.
00:47 Aline, you know that I always thought this was the first movie I would make, about the births of my family.
00:54 They were very rich and very complex and I also did not understand what was happening.
00:58 I knew that a lot was happening, but I did not finish understanding.
01:02 Because we take time to start realizing some things and name them.
01:07 It took just that, the moment for me to find out what the point of view is and what the structure of the film is.
01:13 When I decided to tell from the point of view of the single daughter who was taking care of the parents, the film was born.
01:19 And then came the decision to tell on a single day, which I think is what makes the difference.
01:25 And always that challenge, that this single day, to be able to tell a little about the history of that family.
01:31 When he said Aunt Virginia, for me this issue of family and belonging is a recurring theme.
01:39 It's a theme that I really like to talk about these issues.
01:42 My family is very large, a phraletic family, my mother's.
01:46 My mother had 14 brothers and sisters, so this experience with cousins, uncles and aunts.
01:52 I did not even get to know my grandparents very well.
01:55 But it's a matter of formation through the whole family.
02:01 So what interested me at first was really talking about this.
02:05 And about this relationship of these three sisters, which is not so ...
02:08 It's a relationship more of ...
02:11 They are rigorous, they think that that woman who did not marry and had no children,
02:18 she has an obligation and does not know how to keep herself.
02:22 Because apparently the discussion between them, the discussion between the two,
02:27 one of the sisters is that she has to live with her mother because she does not know how to keep herself.
02:33 To keep the way they want, the reflection of the model of that more traditional family.
02:41 Great face!
02:44 How good, how good!
02:47 All right, I'm terrible, terrible!
02:52 I live stuck here in this house, money is not so much, it's suffocation.
02:58 Joke!
03:08 And now this is a question as a single daughter, which I am.
03:12 I was thinking that Fábio brought the two sirens here, Vera made a movie with her sisters.
03:17 And then I wanted to know from you, what is so powerful in this relationship between brothers
03:23 to cause all this depth?
03:27 I do not have a sister, whenever I'm, I have a single brother.
03:33 And during the film, I do analysis, I did, now I have not done because I'm working a lot.
03:41 I worked the relationship with my brother, making Valkyrie with two sisters and having this mother,
03:51 which in principle for Valkyrie is in a vegetative state, but in the film shows that she is seeing everything.
03:59 There are times when she knows everything, she is asking for attention.
04:03 But for Valkyrie, Valkyrie thinks she does not understand, she does not know, because Valkyrie is very pragmatic.
04:09 All right here with your parents, Virginia?
04:13 It's Valkyrie, Tavares, that's the story.
04:17 Of course, my beautiful, of course.
04:20 And to finish here, I wanted you to tell a little bit of this experience of coming again to watch your movie with people.
04:28 And I think this, even more especially, because of the amount of live reactions that were happening there
04:34 while the story was unfolding.
04:36 You keep paying attention to how people are reacting.
04:40 I was sitting on one side, Vera was on the other, Luizy.
04:44 So you also pay attention to showing the movie for the first time.
04:49 Because they were seeing the movie for the first time there too.
04:53 But yesterday's session was very beautiful.
04:56 It was the birth of the movie, the first time the movie was shown to the public was yesterday.
05:01 And something that was very exciting, with applause in open scene, three times applauded in open projection, as Rucaitano said today.
05:12 So it was very exciting.
05:14 I think there was no way this premiere could be more beautiful.
05:17 The applause during the movie is a very strong thing.
05:20 It's a sign that he was really getting people there.
05:25 I think it's by identification, right, Aline?
05:27 I think, for better or for worse, everyone has a family story in this place to be able to move, to be able to understand better.
05:36 Look, I'm going to tell you the truth.
05:38 I was very afraid of being programmed, because this is the third time.
05:42 And I've already made a movie, I've already shown a movie here in the 1980s.
05:47 And it was very vague.
05:50 And I said, "Oh my God, will Tia Vigília be like that?"
05:53 Because I didn't see Tia Vigília.
05:55 I knew, I had confidence in Fábio.
05:58 I read the script several times and I was there.
06:02 I thought it would be great, but I didn't see it.
06:05 So I was very afraid.
06:08 It was the experience of watching the movie for the first time and having these reactions at the same time.
06:12 And programmed, you know?
06:14 And I had this experience.
06:16 And the movie wasn't that bad.
06:18 When people started coming in, when it started, I started to think it was so beautiful, so beautiful.
06:24 Plastically, I started to think everything was so beautiful.
06:28 And it seemed like I wasn't even in the movie.
06:30 I started to see it as a spectator.
06:32 And when people started coming in, I started to think it was sensational.
06:36 I'll tell you.
06:39 I only had this experience, because I've been making movies for a long time.
06:43 I make a lot of movies.
06:45 I have more than 30 movies.
06:48 In Leila Diniz, in Rio.
06:50 When Leila Diniz ended, it was a very similar ovation to this one.
06:55 Did you know I was almost an actress?
06:57 No.
06:58 Yeah, and look at the good ones, see?
07:01 We made Bernardo Alba's House.
07:03 - I'm out.
07:03 (air whooshing)