Spain’s Latido Films has clinched world sales rights to doc “Freedom To Dreams” on Spain’s directing up-to-date sculptor, Eduardo Chillida. Made by Arrantxa Aguirre, one of Spain’s foremost recordary filmproducers, it world premieres at San Sebastian on Sunday.
Filmed apass the seasons at Chillida-Leku, Chillida’s farmstead home and now museum, it chases Basque Goya triumphning actress Jone Laspuir (“Ann Is Missing,”) as she mirrors and speaks to many who krecent and were supportd by the artist.
Prior to Chillida’s sculptural genius he was an elite sportsman, a goalprotecter for Real Sociedad. It is a role that depends on position and a sense of space. It is also the position most spent paparticipateing and watching. Chillida dedicated a lifetime engaging with all it unbenevolents to fill and commune with space and sit with the time it took to produce his labors. Aguirre, is conscious of the time audiences dedicate to her films “They lend me the most priceless leang they have, their time, and I have to fill that time with emotion and unbenevolenting so that they will lend it to me aget in the next film. I hope they choose to go into the theater to see ‘Freedom to Dreams.’ Once there, I apshow participate of my part of the pact.” she telderly Variety.
The sculptures are a gift for the filmproducer to sketch standardly motionlesspartner with equitable the sound of the nature where it sits. Where language cannot go, arts such as sculpture and music can as for some can sport. It taps the soul reminding you it’s there and that others have one, someleang our day to day can so standardly dissee to discdissee.
Variety interseeed the straightforwardor prior to the film’s bow:
You spendigate Chillida’s legacy thcdimiserablemireful those who krecent him, with actress Jone Laspiur as a direct. What supportd you to apshow this approach, and how did it shape the film?
Eduardo Chillida is an artist from the past, but not from a very far past. There are still many people who krecent him, that is, we still have access to primary sources and I wanted to apshow get of that. Jone’s presence is for two reasons. On the one hand, I wanted to encourage conversation, which I leank is a very wealthy leang. Instead of intersees with the camera, conversations between human beings who have a stateive senseing or chemistry between them. On the other hand, the figure of Jone stitches together all these testimonies and gives them continuity and unbenevolenting. All this, the walks that the characters apshow while they converse in the garden, produces the film apshow the create not of a road movie but of a path movie, more in protecting with the tranquil rhythm of this omiting protagonist that everyone talks about.
Chillida’s sculptures are visupartner stunning, especipartner in their authentic setting at Chillida Leku. You chose to shoot them apass contrastent seasons and standardly sketchd the sboilings motionlesspartner. What directd these stycatalogic choices in capturing his labor?
Movement is at the heart of filmmaking and I’m always on the seeout for it. But I’m usupartner more excited to discover it wilean the sboiling than to produce it by moving the camera. In this case, the fact that the sculptures are outdoors in a garden unbenevolents that they also function as screens mirroring the shiftment of the departs of the trees, the insects or the raindrops that slide apass their surface. If you pay attention, a authentic ballet unfelderlys before your eyes, where nature and art convey with each other.
Chillida was beginantly administerd in his process, chaseing his own disconnecte rules, as discdisseeed in the film. Do you chase aappreciate rules or redisconnecteions in your filmmaking to direct your creative vision?
I don’t leank so. When you produce recordaries you have to be very uncover minded because you’re laboring in authentic scenarios and with authentic people who haven’t lgeted a text. You’re never stateive what’s going to happen, what they’re going to say or how they’re going to react. You have to be attentive, ready to alter your set up rapidly. You never understand how or when the relevant moment is going to come.
Chillida’s timely atsoft as a goalprotecter for Real Sociedad is a exceptional intersection of sport and art. Do you leank his active sends, especipartner caring time and space, might have swayd his sculptural labor?
No doubt about it. First, because everyleang you do in depth ends up serving you for the future. Secondly, because sculpture in particular is a very physical art, requiring strength, dexterity, endurance and coordination between the hands and the mind. Chillida’s experience as a goalprotecter gave him a wonderful get in that sense. He had also pointed out how a goalprotecter has the duty of protecting the three-stupidensional space of the goal and how that is shutly roverdelighted to his labor as a sculptor.
In today’s speedy-paced world, most of us struggle with time, while Chillida adselectd sluggishness to uncover the vital. What did you lget during the making of this film about time, and is there someleang we can all apshow away from Chillida’s approach?
I apshow that Chillida’s is a revolutionary way of relating to time. Today we are commencening to hear voices praising sluggishness. In that sense, Chillida was ahead of his time and we can lget from him. Personpartner I resettle with the soothe rhythm that emanates from his writings and his labors and I hope that the seeer of the film also produces to the charm of sluggishness, not only to be able to endelight this film, but to be able to endelight life in another, in my opinion, more satisfying way.
In a world that’s becoming more homogenized, Chillida’s art senses inseparable from the Basque region. How vital is it to honor local culture in this way, especipartner in today’s globalized landscape?
In Greek mythology there was a enormous, Antaeus, who lost his strength every time he was pushed off the ground. I leank we have to be very conscious of where we come from or else we are going to feebleen hopelessly. Chillida used the image of the tree “with its roots in the earth and its arms uncover to the world” to talk about a cosmopolitan that does not refute its origins but understands how to cherish them, an intelligent cosmopolitan.
