Akrapovic Posted July 8, 2019 Posted July 8, 2019 We interviewed the youngest actress to get two Goya Awards and she talks about feminism, #MeToo and the variety of records of her career Light. If Natalia de Molina were described with an adjective, the most suitable one would be that, however trite it might sound. When Vanitatis meets her at the Palace Hotel, the day can not be more gray. She is serious, diligent and expresses much more even with her eyes than with the words that come out of her mouth. Callada or charlatan has light, that inexplicable quality that has turned many gods into mortals who have stood before a camera. But their problems are those of a mortal and not those of a God. In these moments, in fact, the actress is in the middle of moving. The transfer coincides with the promotion of his latest film, 'Animales sin collar', a story of political corruption and female self-assertion. Despite these setbacks, its brightness does not fade and it is a pleasure to see how it patiently adapts to changes in clothes, makeup or hairdressing. Also how he talks about that Marilyn Monroe that served as a connection with the director of the film, debutant Jota Linares. "What united us when I met him the first time is our passion for Marilyn," she says between brushstrokes of makeup and brushstrokes of mascara. Of subtle eroticism and naive pose, Natalia would be something like the Andalusian Marilyn passed by the feminist sieve of the XXI century that also has 'Animals without a collar'. "As a child I disguised myself as Marilyn Monroe without knowing who Marilyn Monroe was. My mother laughed a lot and said to me: "More than Marilyn Monroe you look like Dolly Parton", she tells us between laughs. Our talk with the youngest person to win two Goya (she is 28 years old despite Wikipedia giving her two less) does not just mean talking about the protagonist of 'The temptation lives up' or feminism (she is the daughter of a divorced mother and sister of three women, one of whom, Celia, is also an actress), but of her relationship with the #MeToo movement, the care she gives her physique or her hair ("although I am a bit of a disaster", she confesses) or her relationship with fame and with his childhood. This is, without additives, Natalia de Molina. The #MeToo in Spain Question: The film is very feminine and it is in full movement #MeToo although the script was earlier, what do you think about the sexual harassment cases that drove it? Why in the cinema do not we put names and surnames to the bullies as it has been done in the United States? Answer: Weinsteins are in all professions and in all places. I do not know if there is a fear of giving names here, but I do not know how good or useful it is to give them. Saying a name can generate sensationalism and, being such a harsh situation, each person has their process and we must respect both the one who wants to say it and the one who does not. Q: Would you give names? A: I do not know if I would say it or not. I have opinions on that subject. I am sure that harassment is experienced in Spanish cinema, but also in all professions. Q: Two Goya being so young, the possibility of choosing characters in such a difficult industry ... What do your lifelong friends tell you when you return to the south of your childhood? A: My lifelong friends flip and when we are together we think about how strong it is that they go to the cinema to see me. We've known each other since we were very small and they tell me about that, it's a strange sensation but also a beautiful one. Q: You have an actress sister, Celia. Did you dream that one day this would happen at two o'clock? A: She was, precisely, the one who invented all the shows that made us act in front of the family. We also had a camera and we still have many videos in which she says: "Natalia, put yourself there and do not know what". It was always like a children's game that in the end has become our profession. From drama to comedy And that profession is what has taken Natalia to a privileged place where she can pass from the minimalism of 'Ceiling and food' to the aphrodisiac laughter of 'Kiki'. Being able to choose has made her a lucky one who now gets into the skin of Nora, the wife of a hypothetical new president of the Junta de Andalucía with many dirty rags to hide; a brave woman with a cañí accent who ends up discovering her own identity in a postcard Andalusia of the Far West. Question: What led you to 'Animals without a collar'? Answer: The empowerment of history. The usual thing would have been that history was centered on the politician who wins the elections. Men are always the protagonists. However, this is her trip, which has to keep a secret so it does not come out. A journey of self-discovery and freedom, of realizing that he wants to take charge of his life. It seems to me a very important message because there are many Noras, not only in Spain, but in the world. Many women who have been educated in the concept of pleasing the other. Q: Your director, Jota Linares, you already knew him. How has it been working with him? A: The good thing about Jota is that, although he is a man, he has an incredible sensitivity and has lived with a super-warrior mother. He really wanted
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