Art is talking about what people do not want to hear, it is not pleasing." Manuel Martín Cuenca ('The daughter')

' The daughter ' is already in our cinemas. The last dose of suspense icily calculated Manuel Martín Cuenca puts us on the phone with one of the most unpredictable filmmakers of our cinema. We chatted with the director about his great new movie.

Tension and containment

Kiko Vega (KV): Did you feel more pressure after the success of ' El autor '?

Manuel Martín Cuenca (MMC): No, not really. I feel the same pressure with every movie. Be aware that you can be wrong, but I have gotten used to taking as many risks as possible and making it a game. I'm not afraid to take risks . Also as I shoot outside the city, I isolate myself, I stay to live where I do it, and I don't have that pressure: I enjoy it to the fullest and if I'm wrong I'm wrong. But in life you have to take risks and play and make each movie differently. You still put the stamp on it, even if you don't want to, unconsciously.

KV: In the film what you say breathes a lot, tell me about the location, about that mountain of madness.

MMC: For me it is fundamental. I always do it. I don't start writing until I put a story in place. I go to that place, I do research, I meet the people, I see the space, I imagine the history there ... I take a trip to that universe that you want to create. For me that is fundamental. For me the first thing is the geographical and then the history. Space speaks, and space is where stories, life, are located.

KV: In your films you move between taboos like a fish in water. Were you afraid that more criticism could come for dealing with the matter you handle in 'The daughter'?

MMC: You are always concerned about touching topics that can sting, but I also believe that art is talking about what people do not want to hear, it is not pleasing . On the one hand it worries me, but on the other it also excites me to dare to do that. I feel very free and fortunate to have made the films that I have made and to treat the stories that I have treated in the most stark and lucid way that I have ever known.

KV: You return to work with Alejandro Hernández, a relationship that has already been established. Do you no longer see yourself writing alone or do you get bitten by the bug?

MMC: Yes, yes, it itches me. Now I am writing another script with someone else. Writing is an encounter. Alejandro and I are great friends, we found ourselves writing a first script that was never shot . I always say that we became friends between the lines of writing. Our work is an exploration, an encounter that must always be alive, but obviously we both do things on the other hand.

KV: Is this cruel thriller so yours the place where you feel most comfortable?

MMC: I've never thought of my films as thrillers, but then they turn out that way. But since my first film ('The Weakness of the Bolshevik') I have always been interested in dosing emotion and mystery. I think that anything you want to tell has to have mystery . It is not something that I have consciously elaborated but it is a knowledge that the cinema that I have seen has provided me and it has shocked me. Somehow that comes out unconsciously, because I am not mathematical or intellectual at all. I get carried away by what happens to me.

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