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hierarchically lower position on the scale metaphysical perfection, producing a force field of asymmetric relations between men and women in our society. Did you rehearse a lot with the shots you prepared in advance? I met up with the performer and also choreographer Patricia Bergantín in advance and really got admired by her work. We had met a few times to talk about the book and the story and how I wanted her to feel all violence the character had in her body. We rehearsed in front of camera on the shooting day, we prepared the script with parts of the book and actions and symbols I wanted Patrícia to show in the performance.
From the first time we watched The Regret, we thought of Angelica Liddel's theatre. Can you tell us your biggest influences in dance cinema and how they have affected your work? Pina Bausch is indeed a inspiration, the way she connects the body to feelings is amazing. For me her dance cinema shows and inspires a world of possibilities, how a human being can exteriorize thoughts, symbols, to be a moving poem. When I read the book I thought that dance would be an amazing way to express all of Ermesinda’s feelings and pain caused by the love she had for her husband. I started