When Frida’s mom dies, the six-year-old has to leave her home in Barcelona to live with family in the Catalan countryside. This vivid tale of childhood grief, confusion, and, ultimately, joy is based on filmmaker Carla Simon’s own childhood memories. The film is in the Catalan language and was released in Spain during the year that Catalonia declared its independence from Spain and Catalan president Carles Puigdemont was forced to flee the country to avoid arrest. Such is the beauty of Summer 1993, however, that Spain chose it as its official entry to the Academy Awards. Click here for trailer. •Availability: New York City, May 25, at the Elinor Bunin Monroe Film Center, with national rollout to follow. Click here for screening schedule. •Thanks to Susan Norget and Marija Silk, Susan Norget Film Promotion, for arranging this interview.•
DT: You do a remarkable job of simultaneously capturing Frida’s character from the inside and the outside, showing the narrator’s point of view and the character’s point of view at the same time. Can you talk about that aspect of the film, especially in terms of the camera work?
CS: That was a discussion we had during the whole process, even from the script. At the beginning I had some scenes that Frida was not in, then we realized that if we wanted to see from her point of view, she had to be in all the scenes. I talked a lot about this with my DOP all through the shoot. Basically I told him that I think the film is about the girl and I really want to portray her point of view—that’s what I know best—but at the same time, what I discovered while writing the script was that the characters who surround her are very interesting and have feelings that I also wanted to portray. So each time we shot we would focus on the girl but also feel that if we wanted to go to another character, we would just go and show something about them. In the editing it was the same. We always had in mind that this is a story about Frida. All the closeups we took of her are in the film, but sometimes we had to give space to show how the other characters feel.
DT: There’s one shot in particular where you start on Frida and pan over to the statue she’s looking at. It was sort of an old-fashioned way of tracking her point of view.
CS: In terms of camera we decided to not be too intrusive and not think about very complicated choreographies with the girls. We wanted the camera adapted to them instead of them adapting to the camera, so to do that was to just almost put the camera in a corner and work from there. We realized that pans were very important, so in order to show that it was Frida’s point of view we eneded up doing a lot of this, just going from her to what she’s watching. We also had this idea of shooting with a long shot in the sense of being in the moment with this family, to just be with Frida but then show what she’s watching.
DT: Can you talk about working with child actors, specifically these two? Both of them were terrific.
CS: I love working with kids because it’s a game for them, so you enter this world and approach the filmmaking as a game. The first thing was to find the right girls. We looked for girls who would be like the characters in terms of personality, so we asked them a lot of personal questions to see how they were in life. This was interesting, because you can ask an adult to create the character, but for a kid that’s difficult. In the end, Laia [Artigas] has a lot of Frida, and Paula [Robles] has a lot of Anna. The combination between them was also important. We tried different pairs. The relationship that Paula and Laia created in a natural way was very similar to the one we’d scripted, so we were very happy with this. It was very useful.
Then we spent a lot of time together. Over two months we met often with the girls and the adults, and we improvised moments that happened before the summer of 1993 to create a shared memory between the girls and the characters so they’d lived something together. Sometimes I acted the mom. For example, the scene where Frida is imitating the mom; I had done that before, smoking and saying, “I cannot play with you because I am too tired.” When we got to shooting the scene, I said to Laia, “Remember when I said, ‘I’m too tired’? Now you have to imitate me.” We did all that up until the moment that Frida finds out that her mom died and she’s going to live with her uncle.
We also spent a couple of weeks on location rehearsing specific scenes. We didn’t really talk about the script because the important thing was to create an intimacy between the actors and also to go through all the scenes for them to know what we’re going to do and for me to know how to get what I needed from them. The shoot was fast—six weeks, maximum eight hours per day. What I did was talk a lot with the girls during the takes; I would guide them, telling them what to do, then we took out my voice in postproduction. If I wanted them to say something very specific, I would just say it and they would repeat it, while there were some scenes where they have a bit more freedom and could just play it their way.
DT: There’s a lot of political stuff going on in your neighborhood. [N.B.: This interview was conducted in May 2018, seven months after the Catalan parliament declared independence from Spain on October 27, 2017. Spain’s senate imposed direct rule over the previously autonomous region, and Carles Puigdemont, Catalonia’s leader, fled Spain on charges of rebellion. Five months later, he was arrested in Germany. As of May 2018, Germany is seeking to extradite Puigdemont on lesser charges.] Did that affect distribution of your film?
CS: I think so. It’s been a crazy year because of all that was happening. We had the film in theaters, and it lasted forever—we released in June and it stayed in theaters until February, although not a lot of theaters. At some point we released the film just with subtitles, but when it was chosen to represent Spain for the Oscars, we dubbed it, so there were more theaters that played it. It’s not a political film; it’s very local, so people didn’t read it as a political film at all. It was beautiful that it was chosen specifically this year to represent Spain.
DT: It’s mind-blowing.
CS: It was like, Art is something else, it’s above all these problems, and the language to tell the story doesn’t matter if the story touches people. I was asked all the time, What’s your position? [on Catalan independence], and I thought, I don’t have to tell my position. I’m a filmmaker, and these are two different things. It’s been a crazy year. It’s still a crazy year.
DT: In the film there’s an underlying sense of danger and threat, but it’s balanced with the beauty of the surroundings and the beauty of the family. How did you go about building that balance? What did you focus on?
CS: Frida goes from living in the city to living in the middle of nature. This is beautiful and poetic and amazing, but it’s also a threat. She feels it like that. Sometimes it’s disgusting even, and she needs to get used to that, but it’s not so easy. This is something I remember very much—suddenly seeing all these animals and feeling a bit scared, so I wanted this to be present somehow. Frida has lots of fears; she can’t understand the situation she’s in, she doesn’t know how to manage her emotions, how to express her real feelings. And in the end, children are always surrounded by danger. Anything can happen to a child, but it usually doesn’t happen. I wanted to have this feeling that these girls are free to be the way they want but they are endangered somehow. To me this danger was interesting to have and to feel. Also, it holds the audience and keeps them engaged in the film.
DT: You studied film in California, London, and Barcelona. Did you find the approaches to cinema different in each city, or was it basically the same thing wherever you went?
CS: It was different. When I decided I wanted to make films, I couldn’t afford film school, so I went to Barcelona to study for a degree in audiovisual communication. This was a very general degree: we did radio, TV, journalism, and a bit of cinema. I watched a lot of films, I learned a lot about films, but I didn’t really do anything. For me it was really life-changing when I spent the year in California. Suddenly I realized it was possible, because you [Americans] have this energy that if you want to make films, you have to make films. That’s what I took from my experience in the United States. I came back and said, If I want to make films, I make films. That was very cool.
I felt I really needed to make more films and keep studying, so I asked for a scholarship to go to London and study at the London Film School. For me it was a beautiful experience, because first of all it’s very multicultural. You have people from all over the world, and it really makes you ask, Who are you? What makes you special? What are your stories? I learned to give value to my family, to my place, I had a teacher who always said, You should start talking about what you know, and that’s why it was so important to me to make this film.
In London they are very critical. We used to have our shorts screened while we sat in front of everyone and a panel of experts gave us feedback. We couldn’t say anything, which was a bit difficult to take, but I really, really learned a lot. I finished in 2014, which is when I started writing the script for Summer 1993.
DT: You’ve worked on TV shows, short films, and documentaries. How did those formats prepare you for this film?
CS: In California we made a couple of short films that were very experimental, so when I went to the TV show it was very interesting, because I focused more on the narrative, how to tell a story for the audience. I did a documentary at the London Film School about young people born with HIV. They didn’t want to show themselves, so we recorded voice interviews, then had actors miming their voices. It was strange, but it was a way to put bodies to the interviews. I learned that documentary is really, really creative and free. The approach to people was very useful for me, because in the end it’s the way I’m working now with film. I need to talk a lot to real people because I like this attachment to reality and to portray something that exists. This approach to people was very useful in terms of talking to my family for Summer 1993 and also for the project I’m writing now. I think it gave me tools in that sense.
DT: You created a group called Young for Film.
CS: That was in London. It was a very nice experience. I’ve been working with kids since I was a teenager. I missed that when I was in London, so a group of us from the London Film School created Young for Film to teach film to kids. The group dissolved when I came back to Spain, but now I’m teaching film to young people through a project called Cinema en Curs. It takes filmmakers together with teachers from public primary and high schools, and we make short films and teach films, so I’m still doing that in another form.
DT: Is there anything you want to add—anything you want to say to your audience that you can’t say through the film?
CS: It sounds like a very dramatic plot, but the film is not dramatic. It’s life, I would say. For me it’s important that people come out with a feeling of valuing their own family relationships. You see a story where there is a group of people that have to construct a family, but we all have a family, we have a dad and mom, sisters, whatever, and we take it for granted. This is a story that shows you shouldn’t take it for granted and you have to give value to that.
Copyright © Director Talk 2018