In 2018, less than a year after the Weinstein case sparked Me Too, nine women had the courage to file a complaint against two of their teachers from the Aula Municipal de Teatre de Lleida, who let go of abusing them when they were teenagers. . Nine years passed when her teacher turned these classes into a sort of sect where she convinced the young women that they were special, unique. He tricked his students with ideas about romantic and platonic love so that he would systematically sleep with them; A predator in sheep’s clothing. The abuse went on for years while everyone looked the other way.
Those nine women finally spoke up and told the press what happened. They did it for them, but especially for those who came after, so as not to repeat the situation of abuse of power and sexual abuse that had marked their lives and had to be acknowledged for years. They never talked about it, but years later, when many of them happened to be in Leyda’s cultural group, one brought up the subject. “There was no doubt at that table. So we started mobilizing super fast, thinking about what we had to do. What we could do for us and for you,” says Aida Flix. Zinemaldia does this as part of the San Sebastian Film Festival, where it was presented yellow roofA documentary made by Isabelle Coixet to give voice and body to these brave women.
Remembering everything that happened, Aida does not let go of Goretti Narsis, another victim and the woman who revealed everything years later. They realize that it was difficult for them to accept it and showed their face because of the “pain” that they experienced in this institution. It took 15 years to make this final step. “We were also very quiet because he was always a very clean, very intelligent person and because we didn’t want to damage the institution either and because at the moment you don’t notice that it’s an insult. And because it also created a bit of that “this is between me and you, you’re very important and you’re the most important in the group” vibe. It made me feel special. This manipulation makes you understand that you are living a romantic story, but someone older than you and who has power over you, because he is your teacher, and you realize that you are not the only one, that there are many more. “I think I was also the one who pressed us and showed us that we are experiencing abuse of power and sexual violence,” the two women analyze.
Isabelle Coixet felt challenged when she read a report in the Ara newspaper and contacted the journalists who reported it. Out of curiosity, he didn’t know why, if it was fiction…but he met them. “I meet a lot of people for things that don’t work out very often, but there was something about this that really bothered me because it seemed like it was also about what consent is and what often happens to women when they get away with it. And about how many men are predators. Also about what happens with gelatin, this ‘I’m special’, ‘this is love’… seemed important to me,” says Coixet, who analyzes in her work how romantic love creates a deposit in many young women who use bullies.
As she listened to these women, it was clear to her that this was not going to be fiction and that she needed no staging or voices. is turned off. It was they who had to tell their story, that these words from the newspaper took on a physical dimension in their voices and bodies. “I’ve interviewed many, many, many women and many men in my life, and when someone wants to sneak it in, I notice it. When someone overreacts, overreacts, it’s because I’m sorry. And I didn’t doubt them. : There was some truth, honesty. I said to myself, I want to tell you, but I didn’t quite know how,” he says.
He soon ran into a problem: he had the characters, but he didn’t have the documentary footage they said, so that when they explained it was like a sect, people would understand what was going on within those four walls. The solution appeared in the form of a Nokia phone that belonged to one of the guys in the group, which contained many videos that were necessary for the documentary and that understood how everything happened, the dynamics that were created to achieve their goals. .
Abuse was a combustible subject for documentary, and Coixet feared her work might be sentimentalized, so her job was to “take it away.” “I didn’t want to be sick, I don’t care about tears. There are none. I think we also live in a moment where it is true that there are many stories of women being told, and I admit that I am up to the ovaries of women crying. I happened to see Blonde [la película sobre Marilyn Monroe]. I can’t be the woman who spends 80% of the movie crying. IM sorry. And I don’t think it’s a bad movie, but there’s something it’s not. I think that women’s tears brought us back to a place where we should be,” he says forcefully. The director thinks about why I also did not reach Spanish cinema, which he asked many times. In his opinion, it did. As for the fact that “this is a volatile industry” in which people “are afraid to say something and no one will call you”.
The documentary ends with a devastating image: a bully working in a Brazilian theater without any problems. The loudest sign that the cancellation culture does not exist even for the bully, who, in addition, took compensation for dismissal from the theater class. A situation that angers his victims, who hope the documentary will do something, like change the statute of limitations. All his cases were set and there was nothing Jose could do. “Yes, it’s true that the prosecutor’s office believed us and the case is still open, now if there were girls who wanted to report, the case would be reopened. What we want, this and removed from teaching. “- he adds.
Source: El Diario