The actress debuted as a screenwriter and turned ‘Kulpa’ into a first-person story about injured motherhood
is to be counted. This may be the most obvious of the reasons that support and even justify Pramadfrom Ebon Cormenzana With a script by the director himself and the film’s actress and protagonist, Manuela Wells. They are the couple and parents. That always in disorganized life, real. Arranged in three acts in fiction, almost even. Actually, the film tells the story of a woman’s pregnancy from the beginning to the end, which on seeing it is just another beginning. And each imaginary image does nothing more than to reproduce another, real one, in the mirror game that really matters and counts. is to be counted.
Wells explains that the idea was born in the first pregnancy. What happens is that then came the epidemic and imprisonment. Time passed, the coronavirus passed (or almost) and another pregnancy arrived. The original idea was to tell the doomsday of being a mother. Suddenly, you feel the cruelty of being an animal just to watch your body change., as the budding writer puts it, which explains a reflex action. Shortly after, he goes on, the story took on a life in itself and slowly distanced itself from me. It was still my story, but in a very different way.
In the title itself, goes the first track. Pramad Stops in unwanted pregnancy as a result of rape. Has nothing to do with it. The first scene of the film takes the form of an abyss. In a painful sequence shot, she, it’s always her, is attacked by a friend who is unable to understand the meaning of the word consent. Only yes yes. This is followed by a journey of solitude and isolation, on which all doubts take over. And always raw.
The first thing I wanted to address is what we can generally call a culture of consent. I am clear that this is a problem facing the society as a whole. education and empathy are lacking, and that’s why There is a huge difference in the attitude of men and women, he says, to take a second and continue: I think it’s important to reflect on the fact that many abuses and sexual assaults, as it is supposed to be, are not about strangers in the dark on the street. , Even though. There are violations of many close people, relatives or friends. And the absolute silence reigns over them.
The entire film is made in complete silence. From every conceivable point of view. She, alone and hopeless, faces shame in the most complete loneliness. It is a silent solitude related to the dual state of the victim. The hero is clear and a victim of the environment Which conditioned him not to say anything, Wells says.
But a step further, motherhood, thus in its entirety, is also associated with another form of personal and social silence. The loneliness of a mother is terrifying. You feel lonely because you are overwhelmed by a situation for which you have not been trained and from which society creates a perfect image. Suddenly you feel a huge responsibility. Being a mother is overwhelming. A world opens up about which you know nothing. It is complete surrender and you have to accept that everything has changed, he says. And he continues: Viewed from now on, I think the film is also born out of a need to show another way of being a mother that is nothing more than real. The one in which you find yourself falling away because you don’t, is aware that motherhood brings out the best and the worst in you. This is the kind of tab that should be broken. So the silence is over.
Pramad It was made instead of just being shot with a minimal crew. I was in charge of the props, the makeup, the costume and the body that changed was mine. I remember on the first day I found myself in the middle of the shoot not knowing what to say. I had not studied the part. The director had to remind me that I wrote it, he says. And it’s all praiseworthy. Imperfections and flaws are signed and naturally covered in the skin of the film. The doom of motherhood is alive. There is a sense of guilt when counting.
At a certain moment, and facing the silence of everyone and everything, the protagonist decides to have an abortion. For the rapist, who had previously been a friend of the couple, everything was nothing more than an explosion that had already been forgotten. For him, it is a body of concrete, irrefutable, complete guilt. Indelible. There is another tab on unwanted motherhood that cannot even be cited. And that, Wells insists, should be discussed. And what do you think about the right cut abortion What has been announced from the Supreme Court of the United States? I hope it doesn’t come here, but it’s another example of the rebound effect. For every social conquest there is a period of retreat. It is almost a physical law.
Manuela Wells made her film debut in 2007 with Julio Medem Katika Ana. It was, in his own words, a leap into the void. Now, 15 years later, he says he feels on the verge of the same gap as it was then. I lived him with all the unconsciousness of the world. I was completely free. Now the same is to be counted.
according to the norms of