What are the options for a 58-year old divorcée whose job is not engaging enough to take over her entire life and whose children have long fled home and have a life of their own? To spend her evenings in front of the TV, looking after the neighbour’s cat or indulge in nostalgia and tearful memories about the good old days gone by? Maybe for some this is an option but nor for Gloria, the extraordinary heroine of Chilean director Sebastian Lelio‘s third feature film.
Winner of the Berlinale Silver Bear for Best Actress and the Chilian entry for Best Foreign Language Film at the 86th Academy Awards, GLORIA is a most engrossing character study of a mature single woman whose unbridled optimism and zest for life are simply contagious. Drink in hand and dressed in her most glamorous attire, Gloria is constantly teasing life with her heart wide open to anything that this might bring: adventure, romance, new friends, new lessons…Avoiding the all too easy, conventional clichés that surround representations of older people, Gloria is surprising, warm, genuine and very uplifting. No matter your age, at the end of the film you wish you were more like Gloria.
In an interview taken on October 18 at the Filmmaker Afternoon Teas, Mayfair Hotel, as part of LONDON FILM FESTIVAL 2013, we pick the director’s brain about the film and the amazing performance that makes Gloria such a delight to watch.
Dana: How did you come up with such an amazing character?Gloria is so brave, so strong, so inspiring, I so admire this woman and also Paulina Garcia’s breathtaking performance.
Sebastian: Thank you. Yes the film is all about this character and in a way in order to create the character I created an entire film around it. I created a mechanism for Gloria to be alive, which is cinema, it’s the complexity, it’s a narrative strategy, it’s also camera style, the uses of a narrative of “iceberg tips”, elliptic storytelling, the lack of written dialogues, there were no written dialogues in the script, so everything comes from the actors. I guess the answer for that is […] I had the intuition that it was a strong film in this lady’s world, in this character that in a way didn’t deserve a film, because she should have been like a secondary character in a normal film…but I thought no, I see a film there and we will make a great protagonist out of this forgotten character.
Dana: How did this protagonist come alive?If there were no written dialogues, I assume you worked a lot with the actors.
Sebastian: Yes but in order not to write dialogue, you need to write a lot, even more, because then when you are on set you can afford the luxury of getting lost, but to get lost you need to have the map in order to get lost within a certain battlefield or territory. And concerning the actors, I have an “invasion strategy”. I invade them, I become their friend, win their hearts and then I torture them. (laughter)
Dana: And they make your film…
Sebastian: Exactly, by their own will…It’s a very empirical strategy but for good reasons. I love actors and I do believe that when you see a film in a way you’re seeing the artistic battle, in this case of Paulina Garcia, you see how she’s giving her fight, the fight of her life, she’s like Rocky at the end of Rocky, round fifteen, she thinks she’s going to die but she wins. So I’m much more interested in the person than in the character, I’m much more moved by the human being, the actress, the characters are like an accident.
Dana: Was the role of Gloria a projection of a side of the actress herself? I read in an interview that they are very different, the actress from the character she plays.
Sebastian: The only way to answer that is yes and no at the same time. Paulina indeed said that she would have liked to be a little lighter, like Gloria is. Gloria is the kind of character who knows how to surf life but I think Paulina is wonderful, she’s so fun to be with, she’s funny and smart, but still…The character has a lot of things from her because since we didn’t use written dialogues, she was forced to use herself. So it’s the grey area between character and actress, or human being I would say.
Dana: Is it true that you were inspired by Cassavetes’ Gloria for this character?
Sebastian: Cassavetes is one of the directors of my life and when it comes to a cinema that is able to capture the mystery, madness and complexity of being human, Cassavetes is like the Pope, he is the master, so I would like to capture that complexity also. It’s impossible not to think of Opening Night or A Woman Under the Influence, or even Gloria. Gena Rowlands was very present in our conversations, because of this energy, this woman who in a way is bigger than life, always with a drink, and high heels, and you know, “bring it on”, I love that…
Dana: It seems that Gloria wants to have a good time despite everything, she wants to enjoy life.
Sebastian: Yes, she’s laughing and enjoying herself, she’s not opaque or withdrawn. I’m so tired of these opaque, “interesting” characters that are hiding what they are thinking and you never know how they think about anything, aren’t they empty maybe? Which is OK, I just wanted to go in the other direction, this is her, transparent, in your face.
Dana: And at the same time the film is very nuanced, very subtle. Another interesting thing is that at the end Gloria finds herself on her own again, which is basically the scene at the beginning.
Dana: She goes back to square one after experiencing all these emotional ups and downs…Was that the idea of the film, to show a woman experiencing life even if it doesn’t lead her anywhere basically, the film doesn’t have the ending that you’d expect.
Sebastian: Exactly, and this is a very interesting insight because vision is a theme in the film, the glasses, whether she sees or not, how she sees other people and how people see her, she puts the glasses on, she takes them off, she goes to the oculist, being a little maybe blind towards the others, towards life, towards herself, or literally blind, whatever…Dancing without glasses at the end is such a strong gesture. For me it is very interesting what you’re saying because it’s the same social context but I would say that at the end she sees that same context with new eyes, somehow everything has changed because the vision has changed. We can say it’s the same, but in a way it’s not. It is transformed, because her vision has transformed, because vision transforms, which is the core idea for the film, when we change the way we look at things, the things we look at change.
Dana: What did she see at the end that she didn’t see at the beginning?
Sebastian: Well I think at the beginning she’s looking for the sources of meaning outside her jurisdiction, in men, in family, in therapies and it seems that, but the film doesn’t observe that, it seems that at the end she understands that those sources of meaning might be inside her, so maybe she’s not looking outside, she is dancing blindly but is she blind? So it’s very delicate.
Dana: That’s a very interesting reading of the film.And you’re entitled to your own reading of the film!
Sebastian: (laughing) No, but it’s just a reading, I mean I see myself as a spectator also.
Dana: What were the challenges in making this film?
Sebastian: I would say the main challenge was taking all these low-level materials, like not very sophisticated songs, a lady who’s supposedly a not very interesting character, a boring life, feelings, emotions, and all these dangerous things for an actress, and through combination and alchemy, elevate them and turn them hopefully into cinema. That was the thing, because it is much easier to work with serious issues than to be serious about cinema.
Dana: Is your method of working on this film different from your previous films?
Sebastian: No, my films always had humour and I think they have that complexity but before I made a film that was very sad, because it had to do with the earthquake and tsunami that we had in Chile, and it was impossible not to be serious. We shot only six weeks after the earthquake on real locations where people had died, and we were shooting a fiction based on real events in the real places. But it was very heavy. So very naturally I felt the need to counterbalance, to reconnect with life.
Dana: One last tricky question: why do you make films?
Sebastian: Because for me it’s the best vehicle to cross life, the perfect excuse, it’s a great place from where to think the world. And cinema is a great way to contaminate the world also with what you feel. It’s a wonderful toy.