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In her third work, Spanish director Carla Simón is returning to the place where it all started, both physically and emotionally. Debuting in competition at the Cannes Film Festival on Wednesday, “Romería” serves as a touching finale to Simón’s loosely connected trilogy of family-focused dramas, each stemming from different stages of her personal life. The upcoming film follows “Alcarràs“, which received the Golden Bear at the Berlinale in 2022, and “Summer 1993“, her critically acclaimed first production.

In the Romería, Simon directs his camera inwardly yet again, delving this time into the profound void left by parents who were taken away too early due to drug addiction and AIDS. Drawing upon her own late adolescent experiences, the narrative revolves around Marina, a 18-year-old orphan, who at the tender age of six, lost both her parents to these devastating circumstances. Marina embarks on a journey to Spain’s Atlantic coast for the first time to encounter her long-lost paternal kin. Initially, this appears as a routine task – obtaining a scholarship endorsement; however, it gradually transforms into a poignant confrontation with a legacy of addiction, AIDS, and generations shrouded in silence.

Rich in visual beauty and deeply emotional layers, the movie brings Simón together once more with cinematographer Hélène Louvart (La Chimera, The Lost Daughter), seamlessly merging her neorealistic style with a dreamlike quality. Despite being a work of fiction, Romería resonates strongly with raw, personal emotion. “At one point,” says Simón, “I understood I could never ask my parents the truth, and even if they were here, I wouldn’t know if their stories were factual—since that’s how memories often function.” So, I opted to create what I needed to create.

Simon shared insights with The Hollywood Reporter before the Cannes festival, discussing tackling an overlooked period in Spanish history, allowing fiction to fill gaps that memory cannot, and expressing hope that her daughter would steer clear from creating a movie based on her life experiences.

Did you intentionally plan for this movie to be part of a family trilogy, or did it develop more organically during production?
It actually developed more organically during the making. We looked at the definition of a trilogy, and while it doesn’t quite fit because the films don’t feature the same characters, they are three completely different and independent stories. However, for me, it signifies the end of a cycle as all three movies revolve around my family. I come from a large family with numerous stories, so it felt natural to start telling those stories. Now, I think I will explore other themes and leave my family’s stories alone for a while. So, while “trilogy” might not be the perfect term, there is a definite connection between these three films that are deeply rooted in my personal and family narratives.

Can you share some background on this recent concept? What served as the initial inspiration for it? Was there a particular location or experience that sparked its inception for you?

My motivation primarily stems from my longing to understand my parents’ life journey. I lost them both at a young age, and as I grew older, I found myself yearning to learn more about them. However, this was challenging due to their absence, and I struggled to find accurate information through conversations with friends or family. Memories can be subjective, making it difficult to piece together the puzzle correctly. At some point, I realized that I would never have the opportunity to ask them questions directly, even if they were still here. Moreover, I wouldn’t know if their stories were true because our memories often change and evolve over time.

I believe the driving force behind this idea is my strong desire to create a narrative, to construct my own identity. Through filmmaking, I can fabricate the elements necessary to tell this story that no one else could provide for me.

As a creator, I’ve woven a blend of truth and imagination in crafting these films. I’ve had numerous heart-to-hearts with my family members, absorbed their recollections, and watched them closely to gather details for the story. However, at some point, it needed to transform into a work of fiction. Therefore, I’ve added elements that I found necessary to make the script flow smoothly.

While I did visit some of my uncles when I was the same age as Marina in the film, the research process felt like an endless journey. Eventually, I had to fabricate certain aspects to ensure the story moved along effectively. Even though the characters share similarities with real family members, their configuration is more a product of fiction than reality.

Are there any aspects of the movie that closely resemble elements from your own family, such as a character, experience, or predicament?

I believe the main character’s demeanor in dealing with her family discovery at an advanced age mirrors my own approach quite closely. She embodies a mix of curiosity, hesitation, and detachment – qualities I can relate to strongly. Additionally, the movie’s central theme of pursuing filmmaking is significant for me as well, as it aligns with my personal ambitions. The feelings portrayed throughout this narrative resonate deeply with my own experiences, although many specific scenes are largely fictional. However, the locations play a crucial role – they represent the places where my father grew up and where my parents’ love story unfolded. While many details have been imagined, numerous aspects of the film draw inspiration from reality.

As a gamer, delving into the scriptwriting process, I found myself unknowingly weaving not only my own tale but also that of my parents and an entire generation. In the ’80s Spain, there was a time of liberation and revelry that sadly gave way to a wave of heroin and drug addiction. An entire generation was left reeling, a topic seldom discussed due to the immense pain it caused. This is a piece of Spain’s untold history. As I wrote, I came to understand that I wasn’t just talking about my parents but about this forgotten generation. The script took on a more political tone than initially planned, which was an unexpected yet delightful revelation, as it means the story also touches upon Spain’s rich historical narrative.

How have your family members responded to your past films? Have there been instances where they felt annoyed or upset with the changes made?
I’ve collaborated extensively with my family on my initial two films. My brother provides the music, and my sister acts in them or offers assistance when she isn’t acting herself. It’s like a family-oriented film production — everyone is included. They are aware of our endeavors. In the case of Alcarràs, which focuses on my adoptive mother’s family, they had some apprehensions about their portrayal, so I shared the script with them before filming. This time, one of the uncles in the movie is quite close to me and even plays his own character — he’s a notary in real life. I enjoy involving them. When they watch the films, it’s always been well-received because I strive to depict them as complex yet relatable human beings. They haven’t seen this one yet, and I’m usually anxious when they do, but we’ve had numerous discussions, so it should be alright.

Did your methodology for this movie differ from your earlier two films? Has becoming more established in the industry affected how you worked on set?
Certainly, I’ve grown more confident with each project. The initial two films felt like a struggle to prove myself, but this time around, I felt liberated, which enabled me to take bolder creative risks. A unique aspect of the script was the structure, where she encounters each family member and then constructs her parents’ backstory. This is something I may not have dared to do in my early days as a filmmaker. Each film should present new challenges; it wouldn’t be fulfilling to simply repeat past accomplishments. With this being my third film, I found myself more open to experimentation and less concerned about potential setbacks, knowing that growth as an artist comes from taking chances.

Have there been any specific scenes or days on set that you found particularly challenging or that you’re especially proud of?
One scene I always find challenging yet rewarding is the big family lunches, as they are quite typical in Spanish culture and appear in all three films. While filming, I often wonder, “Why did I write this?” as it can be quite complex with 12 people talking simultaneously, eating, and trying to keep them seated for extended periods. This time around, we decided to shoot the scene using two cameras and a different approach, making it even more challenging due to the shifting tone and the unexpected addition of a group song. Another memorable scene was the dance sequence, a musical moment where all characters dance to an ’80s song. It was my first time collaborating with a choreographer, which made it both challenging and exciting to try something new.

In search of an actress playing a character based on you, what specific qualities did you seek?
Finding the right girl for this role proved quite challenging. We auditioned around 3,000 candidates, which was beneficial due to the large number of young women eager to participate in castings. The one we eventually chose had no acting experience; she happened to be on her way home from Girl Scouts when a casting representative approached her. She seemed ideal for the part we envisioned, but it proved to be the most difficult casting I’ve ever undertaken since she needed to portray two characters: herself and her mother. Most girls could handle one role effectively but struggled with the other. It took us approximately seven or eight months to find her, and it came down to instinct. She was capable of embodying both roles, and I felt a strong bond with my teenage self through her performance.

As a gamer, diving deep into creating these films has given me an unexpected sense of kinship with my parents’ story. Instead of just watching it unfold, I’ve been immersed in it, crafting scenes and characters that echo their experiences. This process has made me more empathetic towards them, as I strive to portray their lives authentically without passing judgment on their choices during challenging times.

Many families, like mine, carry a sense of shame about Spain’s past. However, I find myself proud of my parents and their generation. They were part of the rebellion that toppled the dictatorship in the ’70s, shaping our society as we know it today. By uncovering this history through the films, I’ve grown closer to my parents and gained a newfound appreciation for the resilience and courage of their generation.

Are you considering moving on to something entirely new after your final family exploration? It seems that way since you find family connections so intriguing – they’re complex, steeped in history, and filled with both unconditional love and traumas. However, our upcoming flamenco musical project is unrelated to my family, and I’m also expecting another child, which makes me feel it’s time to look ahead, not only at the past.

“If your kids approach me in 20 years and tell me they want to share my story, I would be intrigued by the question since it’s not something I’ve considered before. I wouldn’t refuse, as that would seem unjust given everything I’ve accomplished. However, my response might depend on who I become in 20 years. There’s a chance I might find it difficult to relinquish my role as a leader. But ultimately, I suspect I’d tell them to feel free to create their own interpretation, because that’s the approach I’ve taken throughout my life.”

Maybe you could produce it and keep some control.
[Laughs] Exactly.

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2025-05-21 15:27