In a romantic comedy by director Famor Botero, the actress plays Monserrate, a Colombian who unintentionally returns to her country for work obligations and ends up falling in love with an American.
Who is Monserrate?
Monserrate is a Colombian who left her native country for the United States very young. His parents’ dream for then. She feels a kind of rejection towards Colombia, there is something that does not invite her to return, but for reasons of her work she must return and through the eyes of an American, who lives in a house with many picturesque characters, she is going to meet again with a very different country from the one he left. From that moment on, he will fall in love both with Colombia, again, and with one of the characters.
In the movie “An Unexpected Visit” we see the resource where the fourth wall is broken through his character. How was the idea conceived?
That was a risk that we wanted to take with Famor Botero, which occurs in other countries with comedy. House of Cards has that appeal of the character speaking to the camera directly. In this case we tried to show what the protagonist’s unconscious is thinking, which very little is shown. At the beginning it was quite complex, we hesitated and in the end we decided to jump into the pool and choose the important and necessary moments to give ourselves that license. I think it worked very well for us in particular for this genre.
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How much is this resource used?
It is worth rescuing that Famor [Botero] He is a raised director who has developed his career in the United States. So this has allowed him to investigate and navigate the different genres of cinematography. We also have another movie which is more of a psychological thriller and he has a very feminine feel. Monserrate is a bit of the director’s alter ego. He asks himself these questions of who is he? Where do I come from? In that search he returns to his country, but with the freedom of having studied film elsewhere.
Who does Monserrate represent?
To those Colombians who have left, I include myself, wounded from the country by socio-political circumstances, by the impotence generated by our governments. It is a problem in Latin America and something being abroad makes us click. Of course it is a representation with a lot of comedy, because in the end it is a romantic film. Although there is so much to do culturally and socially, Colombia is still a country where people are still supportive, loving.
We also see the reference that the character of Alejandra Miranda makes about wealth and that it is no longer a country of war …
That’s how it is. Both styles of films are necessary for Colombia, both those that speak of a war of more than fifty years and the death of social leaders, must be told because it happens and we cannot close our eyes. This is a film that looks optimistically at the roots towards things that seem superfluous, but it is what we are made of.
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Has “an unexpected visit” made you fall in love with your roots?
Of course I do, for that reason I am still here in Colombia, because I am an optimist. Obviously, in some moments I have gone and I have returned. Surely I need to delve into many things. Those kinds of movies help us reconnect and see who we are.
How do you analyze the cinema made in Colombia?
Cinema is diversifying. For some time now, we have stopped seeing Colombian cinema as a cinematographic genre, but rather as something made in Colombia, where many genres fit. On one occasion I did one that was classified as erotic cinema. We have Colombian films where the psychological or fictional thriller is a reality. Thanks to the cinema law, we almost lost in the middle of the pandemic. Here we have different scenarios.
What was it like to work in this post-pandemic time?
It has been a bit difficult, because recording requires about twenty people in the same space. Now maybe more outdoor movies are being made and I think every problem is an opportunity for us to reinvent ourselves or reconnect. Every problem is a creative possibility.