Alejandro Amenábar Voices Concerns About Global Turmoil at Luxembourg City Film Festival
Renowned Oscar-winning filmmaker Alejandro Amenábar, celebrated for his acclaimed works such as The Others, While at War, and The Sea Inside, recently expressed grave concerns regarding the looming threat of World War III. The Spanish-Chilean director, who first garnered attention with his award-winning 1996 horror thriller Thesis, highlighted the troubling state of international affairs during a recent interview.
Amenábar gained further recognition when his psychological thriller Open Your Eyes was adapted into Cameron Crowe’s Vanilla Sky, featuring notable performances by Tom Cruise and Penélope Cruz. His 2001 ghost story, The Others, starring Nicole Kidman, became a standout global success, and his 2004 film The Sea Inside, featuring Javier Bardem, won an Academy Award for Best International Feature.
At this year’s 15th Luxembourg City Film Festival, Amenábar was honored with a tribute during the festival’s opening ceremony, followed by a masterclass session scheduled for Friday. The event also showcased a retrospective of his cinematic portfolio.
Insights into a Troubling World
Discussing the thematic focus of his upcoming masterclass, Amenábar remarked on the difficulty of addressing cinematic fears amidst today’s global crises. “While creators draw inspiration from various sources, the current political climate casts doubt on the relevance of our discussions about film,” he noted. Yet, he acknowledged that his own works occasionally touch on political themes, suggesting that these topics might surface during his presentation.
Foreseeing Modern Conflicts in Cinema
Reflecting on his historical drama Agora, starring Rachel Weisz as Hypatia, Amenábar lamented his foresight into contemporary culture wars and political turmoil. “Even as far back as 2009, I sensed a shift towards a troubling era. The prominence of extremist gestures in today’s society reinforces my fears that we are indeed witnessing this change,” he commented.
Shifting to Television with La Fortuna
On the topic of his transition into television, Amenábar shared his mixed feelings about series in general but expressed excitement about adapting La Fortuna, which is based on a comic inspired by a true story from Spain. “This adaptation marks my first venture into material outside my own creation. Initially conceived as a film, we chose to develop it as a miniseries for better storytelling, eventually comprising six episodes,” he explained.
He further elaborated on the substantial demands of series production, noting, “This was my longest shooting period to date, lasting nearly six months. Still, I cherished the creative freedom I experienced throughout the process.”
Cinematic Experiences: Big Screen vs. Small Screen
When asked about audience experiences on different platforms, he acknowledged, “While the communal experience of cinema is irreplaceable, the intimacy of watching at home can also be valuable.” Amenábar reminisced about his childhood experiences of watching films on television and highlighted his hope that streaming platforms might continue to foster creativity and support new talents, despite concerns over profit-driven algorithms.
The Captive: A Story of Freedom and Humanity
Looking ahead to his latest project, The Captive, which chronicles the life of prominent Spanish writer Miguel de Cervantes, Amenábar revealed that the film is nearing completion and set to debut in Spain this October. He noted the intriguing paradox of how little we know about such a significant literary figure, despite studying works like Don Quixote throughout our education.
The narrative explores themes of both physical and ideological freedom, particularly highlighting Cervantes’ five-year imprisonment in Algiers. “His interactions with the Muslim world enriched his work, adding layers of humanity and complexity,” Amenábar emphasized.
Concluding Thoughts on Global Fears
As the conversation drew to a close, Amenábar reiterated his anxiety about the world’s instability, stating, “For me, the greatest fear today is World War III—this worry feels more real than ever.” Despite the shocking nature of his statement, he noted that media focus often strays from such critical issues, mirroring themes from his film Don’t Look Up.
“In a world captivated by minor concerns, the larger dangers can be overlooked,” he concluded, underscoring the importance of addressing significant global issues even within the realm of cinema.