As a filmmaker deeply moved by stories of resilience and empowerment, I find myself captivated by the journey of Marta Hernaiz, whose latest work, “The Violin Player,” sheds light on a harrowing yet inspiring tale.
Spanish director and actress Icíar Bollaín’s I Am Nevenka (Soy Nevenka), which premiered at the San Sebastian Film Festival that runs through Saturday, tells the story of Nevenka Fernández (portrayed by Mireia Oriol), the first Spanish woman to obtain a sexual harassment conviction of a politician.
2001 saw a notable case that grabbed Spanish headlines, well before the #MeToo movement, which revolved around Ismael Álvarez, portrayed in the movie by Urko Olazabal, a charismatic and influential mayor of Ponferrada. This powerful figure appointed the young Fernández to his finance team as councilor.
Eventually, she is persistently pursued by the mayor, a man accustomed to achieving his objectives politically and personally, according to a summary on the San Sebastian festival’s website. “Nevenka chooses to file a complaint, aware of the heavy price she will pay. This story is based on real events and positions its main character as a pioneer of the #metoo movement by being the first person to bring an influential politician to trial for sexual and workplace harassment.
Significantly, the narrative is presented through the eyes of the protagonist who finds themselves ensnared within the vast network of power wielded by a politician. This person experiences a barrage of calls, texts, and written communications that vary from hostile, demeaning, pleading, flattering to derisive.
Bollaín discussed with THR her method for portraying the viewpoint of harassment victims, employing the chilling sound of an antiquated Nokia cell phone, reasons why she couldn’t film the movie in the location where events took place, and what the #MeToo movement has achieved.
I experienced your film as a very emotional ride that made me feel worried, scared, upset, and more, sometimes at the same time. You also show Nevenka’s inner struggle and journey through noticeable changes in how she looks — from a professional-looking young woman ready to take on big responsibility to a frail, scared person who doesn’t want to leave her house. And you use lighting to further underline the change. How key was it for you to add these visual elements to the nuanced work of the actors?
In this production, the actors, makeup artists, hair stylists, wardrobe department, and lighting crew all play crucial roles in portraying a character’s journey. The makeup artist, hairdresser, and wardrobe team subtly show changes over time, such as gradually deteriorating hair or clothing to reflect the character’s struggles. Mireia Oriol, although slim, was carefully camouflaged until her character’s most challenging moments. Additionally, light manipulation was employed, as you mentioned. Essentially, everyone involved in the project worked diligently, using their unique skills, to help the actress convincingly depict the process of decline and eventual recovery.
In certain parts, the film seemed to have some similarities with a horror movie. For instance, at one point, an old mobile phone starts ringing. The phone’s ringing and text message alerts, which recur throughout the movie, take on a chilling tone that seems to foreshadow the arrival of a hidden menace. Was the overall movie as you had envisioned it during planning, or did some scenes or aspects catch you off guard while filming?
When taking a shot, the aim is to capture those fleeting instances and cross your fingers that it succeeds. Upon my initial viewing of the film, I found myself thinking, “it indeed works.” The character of Nevenka evokes empathy, while Mireia’s portrayal leaves me in awe. What’s more, the fear instilled by this man adds depth to the narrative.
Along our journey, we made numerous discoveries. One such discovery was the lack of emphasis on the phone’s sound within the narrative [originally]. However, during the creative process, we realized that the sound could serve a significant purpose – it could become a recurring nightmare. Therefore, we made adjustments in the editing phase to emphasize this psychological terror through the use of the Nokia phone’s sound.
Over the past few years, sexual harassment has taken center stage, especially with the rise of the #MeToo movement. However, the narrative you’re about to hear takes us back to Spain, a time well before these conversations became widespread. To offer audiences fresh perspectives and deeper emotional understanding, how did you approach this story?
There’s been a great deal of discussion surrounding the #MeToo movement, and I’m grateful that these incidents are finally being brought to light. However, what strikes me is the lack of films exploring the emotional experience of harassment. While there is the excellent film “She Said,” directed by Maria Schrader and written by Rebecca Lenkiewicz (based on the 2019 book of the same title by New York Times reporters Jodi Kantor and Megan Twohey about their investigation into Harvey Weinstein), it focuses on the journalists rather than the victims themselves.
I felt that the narrative often overlooked the victims’ experiences and failed to delve into the real-life situations. To provide a more intimate portrayal, I wanted to convey the intense emotions of fear, terror, and uncertainty experienced in such situations. The confusion that one can fall into amidst harassment is difficult to grasp, but it’s essential to depict how it leads to a state of paralysis. Given the media attention and the lengthy court case, I believed it was worthwhile to tackle this subject matter. Moreover, since these types of cases are not common, I thought it was important to tell this story in an unconventional way, ensuring it still hadn’t been told before.
In the movie, there are sequences depicting townsfolk commenting, “Ah, the unfortunate mayor. It’s all her fault.” This appears to be old television material. Is this actual archived footage or was the appearance deliberately altered for the film?
Absolutely, this narrative includes both authentic video clips and scenes from different sources that contribute to the intriguing tale of a particular woman. Unfortunately, she faced significant backlash from the media and Spanish society during her time, which was particularly unforgiving. We felt it was essential to include these aspects as they form part of her story.
This town, with approximately 60,000 residents, was graced by a prominent figure known for his significant influence. He was admired because he served as the mayor who effectively transformed this city. Through his leadership, he initiated and modernized the urban landscape, which resulted in a dedicated fanbase. Moreover, an unprecedented action was taken when he dispatched six-page letters to each mailbox within the town. An organized team ensured that these lengthy missives reached every household, outlining his perspective on various matters.
What are your thoughts on the current condition of our society, especially concerning measures to prevent harassment? Have we noticed any progress recently?
As a sympathetic observer, I can’t help but notice a shift in societal perception regarding victims. This change is evident, especially in Spain where I reside, though it seems to be a global phenomenon. The case of Gisèle Pelicot in France, who was tragically raped 100 times by her husband and his associates, is a stark reminder of the horrors that victims endure. It’s almost unbelievable, yet the response from the public today is crystal clear – it stands with her. I believe the #MeToo movement has played a pivotal role in breaking the silence and finally offering sympathy to those who have suffered.
Despite numerous disturbing accounts continuing to surface, it’s clear that the issue remains significant and devastating, claiming countless lives of women worldwide. In certain regions, such as Afghanistan, it transcends domestic violence, becoming state-sanctioned brutality against women. Fortunately, society has evolved in its response, acknowledging concepts like consent and harassment, which were once overlooked or dismissed.
How much input did you get from the real Nevenka on the movie?
From the outset, we felt it essential to include her in our project. I didn’t feel comfortable proceeding with this narrative without her approval, consent, and involvement. Therefore, my co-writer [Isa Campo Villar] and I reached out to her at an early stage, and since then, we’ve maintained regular communication with her. We had numerous discussions with her, as well as the people in her circle – her lawyer, psychoanalyst, husband, friends. We spoke to everyone, even those in the town, and then returned to her for more conversation. Consequently, our relationship was one of continuous dialogue.
She’s freshly watched the movie, and she’s eager to participate. Essentially, our screenplay, concepts, and creative style resonated with her, yet she consistently offered constructive criticism regarding the plot.
I appreciate the title and the moment in the movie when she asserts her identity by telling her abuser to stop using affectionate nicknames and pet names, instead saying, “I am Nevena.” Let me explain why this is significant for her empowerment.
At home, she goes by the nickname Quenka, a term of endearment from her family. However, at work, her boss refers to her as Quenki or Quenkina, which seems to be a diminutive form. This repeated use feels like he’s reducing her to a child-like figure, something she strongly objects to. In essence, she is asserting that she has grown beyond being the “little girl” she once was at home.
Did you ever hear from the real Ismael during production?
In our attempt to film in the real town, we encountered an influential figure who maintains his influence. He owns restaurants and clubs and continues to wield power there. Moreover, he has a strong relationship with the local government. When we requested permission to shoot, we were met with silence – neither a yes nor a no, just quiet. As time passed, we realized that we would need to find another location to film. We understood that the silence signified a refusal.
Often, movies aren’t filmed at their actual locations, and that’s not a problem. I would have preferred to film there because it’s a unique place with an impressive castle, and significant events took place there. However, we ended up shooting in a different town close by instead.
Have I not come across this particular situation before? Could you tell me what insights or messages you’d like viewers in Spain, as well as globally, to gain from watching your movie?
I think it’s a film that talks to you in many ways. I want the public to feel what it means to be inside the nightmare of harassment. But also, I think that, as a woman, you recognize things before the most extreme moments of harassment but you want to please. Why on Earth do we have this culture of pleasing constantly?! And I think men also can recognize things, maybe not to the extreme of Ismael, but before getting to that extreme. I think there are things that we can recognize easily. We can recognize when there is a bully and nobody says a thing. I think that’s something that is going to echo with the public.
Reflecting on this past event from 20 years ago, it serves as a reflection of our own progress. It undoubtedly stirred feelings and made us question ourselves. The question now is: Where are we today? We may have grown more empathetic towards victims, but have we truly evolved? Have the behaviors that led to this incident already shifted? I believe this is a conversation we should continue having with society at large.
What are you working on next?
I’m looking forward to potentially collaborating with my writing partner, Paul Laverty, who is renowned for his work on “The Old Oak” alongside Ken Loach. He has penned a script set in Scotland that tackles weighty subjects, yet maintains an upbeat tone – something he excels at. Essentially, it’s a blend of comedy and drama, not based on real events or characters. The title is “What’s Wrong With Charlie?” However, we haven’t received the go-ahead yet, so discussions about further details are premature at this stage.
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2024-09-23 20:25