Manuela Moreno wraps the shoot for mega-ensemble film Rumbos
- The young filmmaker has called on the services of Pilar López de Ayala, Carmen Machi and Nora Navas for her second film: it tells overlapping stories that unfold over one night aboard various vehicles
Rumbos [+see also:
film profile] is a highly personal project – she wrote the screenplay herself seven years ago – by Murcia-born Manuela Moreno, who made a splash with award-winning short films such as Camas and pipas (nominated for the Goya Awards), before going on to take her first steps into the realm of feature films with the irreverent comedy Cómo sobrevivir a una despedida [+see also:
film profile], which was presented at the most recent Málaga Spanish Film Festival (read more). In the wake of that undertaking, the hyperactive filmmaker has for the last month been in Barcelona and Navarra, directing this tragicomedy brimming with characters who bump into each other, inside different vehicles, during a hectic early morning in August. Carmen Machi, Ernesto Alterio, Pilar López de Ayala, Miki Esparbé, Nora Navas, Emilio Palacios (winner of a Special Jury Mention at Málaga for Los héroes del mal [+see also:
film profile]) and Karra Elejalde head up the cast.
With a budget of €2 million and production entrusted to Arcadia Motion Pictures (Blancanieves [+see also:
interview: Pablo Berger
film profile]) and Jano Pictures, in conjunction with Atresmedia Cine, Rumbos unfolds in real time, in a big city, while in the background we hear a radio show presented by the voice of Julia Otero: teenagers rushing around every which way, characters with burdensome baggage and disenchanted women round off an urban fresco that the viewer will find it easy to identify with. “It’s a character-driven movie,” states Manuela Moreno, “just like my short films were, with that same kind of dialogue stemming from local customs and manners, about everyday life and relationships, with characters you become attached to, and suddenly, they wipe the smile off your face because you really don’t know who’s who, until they come together at the end of the film, which has some surprises in store.”
The film, which snagged second place in the ICAA’s project support, suffered because of the light limitations of the short summer nights during its shoot, and in order to shoot inside the vehicles, techniques such as a car-mounted camera and rear-projection were used: “I boned up on films like Taxi Driver, Night on Earth and Locke [+see also:
film profile], but mine doesn’t have a lot in common with those,” continues Moreno. “Now we’re going into post-production: I’m looking forward to putting the pieces of the Rumbos jigsaw together.”
(Translated from Spanish)
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