The actress returns to the cinema after a break with the film adaptation of the play ‘Summer in December’, by Carolina África, along with Carmen Machi and Victoria Luengo
Bárbara Lennie (Madrid, 40 years old) does not hide that drama comes “more naturally” to her. That is why transferring the successful theatrical comedy to the cinema Summer in Decemberwhich hits theaters this Friday, was a challenge that she wanted after giving birth and spending time away from the spotlight. Her name was, in fact, what gave the push for the playwright herself, her friend Carolina África, to direct it. The actress wants to enjoy this new stage, even if today she is suffering from an autumn shock that has not allowed her to sleep.
Ask. There was a year with four Barbara Lennie films. Now it seems like he’s taking his time.
Answer. It was a delirium. After that I said: that’s it. I spent a lot of time without riding. I had a phobia about filming, because I went too far. Stress, anguish… I didn’t measure my strength and I also had very demanding projects and directors. Sunday’s illness, Petra, the kingdomFarhadi… That’s when I got sick. And I have changed a lot.
P. Has the change been conscious?
R. Searched, conscious and cared for. Although of course there is the fear of “if you are not in a project, you do not exist.” It made me dizzy. Now I have needed a year to be calm, but inside I always think that it will be okay. In other things I doubt, but not in this. There are times when I have despaired with “why they don’t call me”, “why this director doesn’t count on me”… but in the end I think that if they don’t call me, I will create the opportunity.
P. Do you want to produce?
R. My goal is to go further in that. My nature is to generate projects, even if I am not there. And take responsibility for what you say, how and why. I don’t see myself just being an actress that everyone calls me.
P. And suddenly a comedy.
R. It is a very popular movie. I had never done gags. And I have a lot of respect for the actors who do it. But there is also a dramatic point, we talk about family and care as a pillar: inheritances, taxes, chosen ones… Those women who, as happens to many of us, take it for granted that care must be the backbone of their lives. My character is delusional, who is almost against it.
Trailer for ‘Summer in December’
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P. Why did you see yourself in that role?
R. I was going to play another sister who hit me, but I told Carol (África, the director): I have much more fun with Carmen, and no one would call me to give it to me. I wanted to get rid of the intensity and mystery. It was my return to work. I was looking forward to something bright and shared with a group of friends. I didn’t fancy an ultra-intense shoot.
P. Has that intensity weighed on you?
R. At times. On the one hand I hate it and, on the other, it’s what I like the most. If it stopped coming, I would be worried.
P. Why did they see that in you?
P. Although sometimes I don’t like to recognize it, and I don’t see it, I surely release that and it is in me.
P. There is a certain intensity in the actors.
R. Completely. Yes, we have it. But above all, it is not so easy to find a lot of projects with different women. And that is a path I wanted to take.
P. How about working with friends?
R. It’s delicate, huh? The good thing is that you skip the prior of let’s get to know each other, let’s see who you are, where you come from… But you have to be very well-placed, because if things don’t mix and get transferred… or you don’t finish saying things for fear that take it badly. Although I am clear that I am not going to put friendship at stake for an artistic work. You have to be careful.
P. The water, The girls are fine and now Summer in December. Is it different working with female directors?
R. Plus there are three first movies. I’ve noticed it a lot, it would be a lie to say otherwise. The way to be in setto get closer, to communicate, to exercise their power, to show off. With Itsaso (Arana), the first day he gave us a speech and he got excited, and said: “I don’t care what you think.” I have never seen that in men. Elena (López Riera) had great determination to say that she didn’t know what she wanted, but that you would join her. I haven’t seen that doubt either. Afterwards, I rolled The tigers, by Alberto Rodríguez, his first film with a female lead and a male team, and of course it shows. In the small and in the big things.
P. With the cases of abuse uncovered, have we learned?
R. A lot still has to change, we are in a process, and we have to be careful so that it does not become something hysterical and histrionic. Let us not boycott ourselves. You have to do it with a certain calmness, even though it is difficult when you are distressed and angry. I think it is important that it happens, and also to say that not everything is the same; It is a complex debate. We have to move forward and continue, although what would be interesting is for the places of real power to be touched.
P. Has it pushed a change in cinema? With intimacy coordinators…
R. Do you know I’ve never had a sex scene? I have always played with intimacy, but never sexual. I’ve had nudes and such, but it hasn’t touched me. It’s strong. So I’ve never had a coordinator.
P. Although well, sometimes it can also be useful emotionally, in a nude…
R. Yes, above all, be careful how it is done. It would be great if as a society we could do it without someone watching, but since that doesn’t happen, it’s good that they exist. Because there have been many deeply uncomfortable moments. I have never experienced it.
P. Have you not experienced discomfort on filming?
R. Of course, but not that kind. Things that all women experience, of people who project things onto you, and, since they don’t get what they want, they give you a lot of trouble, they talk to you disrespectfully, or in a way that they wouldn’t talk to an actor.
P. From places of power?
R. Of power and also without power, but they believe they have it. And nobody tells them anything. I have been learning with maturity. I won’t go back to eating certain comments without stopping while filming. I have learned, but thanks to the fact that the alarms have gone off, because other girls have said: “Hey and this…”. That’s why it’s important to look for my projects and ask: “How do we do things?”
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He has spent years weathering fires in the EL PAÍS social media team and now he dedicates himself to talking about movies, series, comics and whatever comes his way from the Culture section. He doesn’t know how to ride a bicycle.
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