Paco Plaza (Valencia, 1973) has presented his latest film La granny, written by Carlos Vermut (Magical Girl, Who will sing to you), as part of the previews of the Antonio Ferrandis Festival at the Kinépolis cinemas in Paterna, Valencia. The director of REC, Verónica and Who kills iron, rescues one of the oldest fears, which has frightened humanity since the dawn of time, old age, that so implacable, as Rosalía de Castro wrote, who adheres to our skin and is reflected in the mirrors, to the beat of the hands of the clock.
“The fear of old age is a shared terror as a society. We all resist the passage of time. What's more, we live in a time not of contempt, but of placing little value on the experience and wisdom of the elderly, instead, we displace them from the discourse, as if they terrified us, as if we they were remembering that we too will grow old and die one day”, comments the director, who puts on the table “a great song, that of care, which is not in the debate. There is much talk of family reconciliation when two people have to reconcile their work and childcare, but there has been no talk of reconciliation with the care of the elderly. No one wants to reconcile taking care of his mother or his father. ”
La granny, who was presented at the last San Sebastian and Sitges Festival and who, after multiple delays, arrives in theaters on January 28, combines all the ingredients of horror classics, such as infernal possessions, to be able to "talk about a more allegorical way, less direct, less constrained by the laws of logic”, because “terror allows you to have a more metaphorical approach to the things you want to explain”, since, “terror is one of the deepest emotions that we can feel.”
In this, his ninth feature film, Plaza masterfully contrasts the ephemeral nature of youth with the stigma of old age through the figures of Susana (Almudena Amor, The Good Boss) and Pilar (Vera Valdez, Coco Chanel's favorite and Avedon's muse in her youth), granddaughter and grandmother, respectively, who live imprisoned in their own bodies, like a matryoshka, in which one doll engulfs another. Susana is a beautiful model who aspires to succeed in Paris, while Pilar is an old woman who, as a result of a stroke, becomes dependent on her. Susana will have to return to Madrid to take care of her grandmother. However, what was supposed to be a brief stay will turn into a terrifying nightmare, in which the supposedly adorable grandmother will be transformed into something perverse, evil.
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At the same time, the dreamed childhood home, next to the Retiro, will cease to be a peaceful oasis in which the everyday and mystery will be combined, together with magic and symbolic elements. Through this gloomy costumbrismo, Plaza investigates “the transience that everything has and the contradiction of trying to retain youth, when by definition youth is transitory. You will never be younger than today and the only way to stay alive is to have a birthday; and that should be something very positive because it is the verification that we continue with the opportunity to continue with our life, it seems like a drama.
With this, the story shakes our comfort zone in a disturbing and disturbing way to face time and, above all, its effects on the people we love, where renunciations, also love, and in turn selfishness live. All the scenes are perfectly cared for, with numerous visual metaphors, in which youth and old age are intertwined, the two sides of the same coin, which oscillate in the corrosive advance of time in a narcissistic society, which every day lives corseted in the canons of an ethereal beauty and that, unfortunately, “it is a scourge that women bear more than men, the harmful perception of time”.
In short, La granny shows that quality horror films can be made, beyond the foreseeable scares, with the aim of reflecting on current problems.