Leonardo Sbaralia: “School should teach us how to deal with pain”


There are actors who can do anything. There is no challenge from which they did not come out well. Leonardo Sbaraglia is one of them. No matter how small the role, there is your scene Pain and glory Approval. He is a performer who loves challenges, without a triple somersault net. Risk, which meant that there are such films in his filmography Burnt silver, Intact Or In a city without borders. From these jumps the last so-called I love you! The film in which he appears on each plane and in which he physically and emotionally unravels to give life to a broken man.

Leonardo Brzezinski’s second film is an X-ray of a human being without emotional tools. He wraps his camera around Sbaraglia’s body as he wanders around parties full of sex and alcohol, trying to straighten out his life and relationship with his mother, daughter and ex-boyfriend. An interpretation that is always on the edge, but he manages to always control the work, which reminds us of Michael Fassbender Shame And for which he won the Best Actor Award at the Malaga Film Festival

How did you come up with this risky project?

Super risky. The script was first seen by my agent, who is my friend and I have been working with him since 1995. He read it before and told me there is a script I want you to read. He did not want to tell me, he wanted to ask me. He was very persistent. And then, on the other hand, the director’s friend Audition, Diego Lerman writes, another director Audition, And everyone tells me “read this script, it’s worth it”. Fortunately, a lot of scripts arrive and many times you do not have time to read them all and I liked it. They doubted me because I said, “How can I do this?” Wonderful, but who will do it. I did not know the director, he had made a film before. ᲦAme, Which was quite experimental and I had not seen it and wanted to meet him. We met, drank coffee, came very nervous, like my character, very nervous. We talked about Cassavet and he wanted to give her a piece of that narrative aesthetic and, crossing the abyss, he told me about Gena Rowlands. I liked how I saw the character and there I said “go ahead”. My question was time because I had a commitment to the Amazon Maradona series and I was filming in Italy, but I had a month and we managed.

This is in every shot of the movie, is it hard to bear the weight of the whole movie?

Sometimes it’s better to always be there because you know you’re directing a movie. You know you say that. You have a great deal of knowledge about what you deliver. When you have such a character, with all the scenes that have occurred to me more and more times In a city without bordersWell, lo and behold, you go to the threads, you know what the last stitch is, the last point to continue. You handle the narration and that’s very good. I love it when I get a character like that and it was a gift, but it’s hard to touch you, at that risk. I am very grateful to have had such a character, especially since there are more and less similar films, so personal. This is the director’s very personal film, a film that is part of the wound. This is what art has, the ability to heal a wound, the ability to heal, and from my acting position I felt the possibility of healing this wound through this film, and what seemed sacred to me.

Your character is lost and constantly trying to feel loved, do you think society pushes us into a relationship?

I have not thought from this place … I really do not know how we are now in this respect … I think, in my perception, people are quite lonely, very lonely. There is something in the system that leads to complacency, as if we could always satisfy ourselves, as if we do not need others. Look at social networks, it seems you can take your photo, you want to have followers, you have your business … At least in Argentina it happens that networks have become everything. I think the opposite is that everything works when one can relax, stop and meet the other, with the team, with a common project.

You mentioned that the film is born from the director’s wound and the movie can heal it, did they even help you to heal any wound?

Obviously. Yes, of course. I have a feeling and I do not want to sound pretentious or pedantic, but my feeling is that sometimes you have the opportunity to choose a character and have a dialogue with you and help you deal with something personal, personal. Wound. Sometimes you do not even know what that fear or emptiness is, but it is. We too are our pain. So, we are our fears and no one teaches us this and in school we have to be taught to love ourselves, to look at emptiness.

There is a moment in the film when your character argues with a partner and points to a class difference as an element of dispute, do you think these are issues that affect relationships?

Leo, the director, has told us a lot that Santiago, my character, is not psychoanalyzed. He is a self-made guy, gone from the neighborhood, with elementary education, without a lot of resources and without emotional tools, and immediately feels inferior in front of his ex-partner and says so, but in reality it can be said that he who is objectively more concentrated is second. Santiago can become unbearable, it is unbearable because he does not tolerate himself and if a person does not tolerate himself and does not love himself … Santiago can not tolerate being alone.

The film will be released in theaters here, but in Latin America on HBO. You now play in the Amazon TV series … How do you experience this moment of paradigm shift in the industry?

In principle, a person is looking for a job. Like everyone else. Have continuity. And in that sense, the platforms have expanded to work. There are more alternatives. Everything that happens is weird because the movies no longer run in a normal circle. Before you knew it you had a premiere in theaters and you saw how many people went. Now you know 80,000 people go to the movies and then five million will see it on the platform and that’s a reality. For some reason, the platforms were able to capture what piracy was five years ago. There is still piracy, but they took this business and started organizing, collecting and some income that happened. With the pandemic, everything intensified and people never returned to the movies. They only see again Batman, But copyrighted films are either more modest or smaller, perhaps people say, “I watch at home.” And it is a shame because cinema is cinema and it does not stop ritual like theater. I hope it will never be lost. At the same time, I think it looks a lot better, but I also think platforms are changing TV networks, at least in Argentina I feel that way. Take a look at the series that are now on the platforms. Sight Women’s fragrant coffee. Let’s see what it’s all about.

Source: El Diario


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