cinéwomen/15
women whose experiences had to be merged.
Can you explain the director/actor relationship during the shooting?
Your film is marked by an original narrative form. How did you develop the structure of the film?
I was lucky enough to work with actresses with whom I have shared more than one project, so we know each other in a way that lets us accomplish what we need through an understanding beyond words or declared intentions. That’s how I started shooting in Buenos Aires, with Sara and Ana; in Barcelona, I got together with my friend Vanvelvet and the chemistry went on: she was finishing a series in Super 8mm and had some material left, which we used for this movie. Towards its end, two more actresses joined the project: Rosita, actress and clown, and Sandra, who impressed me when I met her with her strong personality and photogenic qualities; I just couldn’t stop seeing her as through the lens of a camera. The relationship during the shooting was, somehow, an exercise of improvisation
Teixoneras may be understood as a collage , a bunch of scenes that get connected through a character, a woman played at the same time by different women, different actresses, each one located at her hideout in the world, living her private pilgrimage: this is the structure’s essence and it’s also the thing that lets scenes move ahead along the film. Carlos Edelmiro’s music was chosen around the same structural idea of a weave made out of female states. I find he managed to capture, inherently, the main characters’ feelings and wishes. The editing work was revealing: the movie gradually appeared, surprising us like in a puzzle.