Diego Luna: “Mexico is a country of impunity”


Diego Luna (Toluca, 1979).
Diego Luna (Toluca, 1979).Javier Barabancho

Toluca, 1979. Mexican actor (“Y Tu Ma’am Tambin”, “My Name is Harvey Milk”, “Rogue One”) and filmmaker (“Abel”) Diego Moon The play ‘Cada vez nos Despidimos Major’ by Alejandro Rico, in which he stars, premiered in Spain on the 25th (at the Neves del Espaol in Matadero Madrid).

What’s better than ‘every time we say goodbye’?
This work is the story of two characters, Sara and Mateo, who are born on December 31, 1979 at 11:59 pm on a screen away from each other. And from there his life is filled with encounters and disagreements.
Nice Vintage, ’79. What do you remember from the 70s?
I lived in the 70s for, to be precise, 48 hours. but fundamental [risas],
Why do theatres?
It’s an experience as an actor that is different from anything else because it reminds you of what you are made of, what your tools are. It always keeps your feet on the ground, allowing you to see horizontally with the public. Everything I’ve done in movies, in series, on television, on the radio is pretty much lab stuff, in the sense of a confined and intimate space, where you’re just there, you finish a piece and then you Go and do it You share Here the room does not exist unless you invite the public to stay in it.
Is this more complicated to do or ‘Star Wars’?
Think of a series or a huge movie of a huge production: There’s no way to be more protected. On the other hand, on the 25th at 7:30 PM in Matadero I’ll be completely ‘naked’ with an adorable percussionist I’ll have to find sync with because, if not, we’re going to hell. It’s like having an abyss in front of you, but it excites me so much. And it makes a lot more sense.
Now how important is it to put the play on stage?
Wonderful things happen in theatre, like listening even with the humility to allow another story to be more important for a moment or so. And this is also an optimistic and beautiful ability of human beings in this world where it seems that no one listens anymore, no one is affected by anything and empathy and compassion is disappearing. Theater is a testament to what we are capable of.
It is said that theater is the mirror of society. What does this montage represent?
We all had to say goodbye. There is no way that work doesn’t happen to you in some form or the other. The work is a love story, but through a very important part of the process, and that is, the only certainty we have in love is that it ends. It is the only thing that is irrefutable. However, it is for those of us who are least prepared. Although it is inevitable, we decide to ignore it, not indulge in it. And in goodbye the worst of us comes out in every way. Immaturity, violence, selfishness are manifested. That’s when we become most humble, when that time should be to come out the best, represent the best version of ourselves to us.
Between paradise and nightmare, what place does your country occupy?
You have to be very aware of privilege. Because the perspective is different when you can choose where you want to be. There is Mexico of opportunities and Mexico of those who must leave it to be considered for existence. It’s easy to say how wonderful it is. And, indeed, it is the wonder of the country. There is an impressive amount of wonderful cultural, artistic, social, mental and scientific expressions, bastards. But it is also a country with very high levels of poverty, with brutal inequality. And this is a land of impunity.
Too many edges.
This breeding ground makes it a very difficult country to define. If we do not talk about the reality of those who do not have the privilege that others have, we only emphasize that inequality. This is why it is always so different from how a Mexican speaks of Mexico, to how Mexico is spoken abroad. Because Mexico is that constant contradiction. And that’s why it’s such a big disappointment, because once it’s all mixed up, how can it be that it’s the most dangerous country in Latin America for a woman or the most dangerous country in the world for a woman who doesn’t practice in war journalism? ? Or how could it be that so many Mexicans are willing to risk their lives to cross the border. Who are they running from? What are they leaving behind? That’s what you have to ask yourself.
While you’re in Madrid, will what happened to Hugo Sanchez happen to your ‘Mex’ accent?
Don’t suck If he hadn’t played a game and already said “crap”.

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