SAN SEBASTIAN — The slums of Rio (“City of God”) and Casablanca (“Horses of God”), and now low-income youth, juggling love, broken families and bills in the proudly modern city of Barcelona…
SAN SEBASTIAN — The slums of Rio and Casablanca , and now low-income youth, juggling love, broken families and bills in the proudly modern city of Barcelona: For many middle-class spectators, Spain’s “A Thief’s Daughter” will present as bracing an only-half-known reality – as the earlier-mentioned films.
A Thief’s Daughter is also about pain, the hurt parents can deal their children. “You have to leave. Whenever you’re round I think I’m going to die,” Sara tells Manuel. There’s the possibility – though that’s left open to the audience – that’s she’s attempted to form her own family early in life to compensate for her lack of family in the past. Again, could you comment?
Much research went into the film. It’s also a world I know well because of where I was born and grew up. I like to write based on reality and I take it to obsessive limits. For example, the hearing aid Sara uses is a real device, especially made, which worked perfectly. Sara has very little in terms of income and we adapted all her life to suit such a circumstance: from the food she eats to the clothes she wears. I think we were spot-on, in terms of rigour.
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