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Candy Lopesino Talks About The Cinematographic Vision

Tell us about yourself. What inspired you to become a filmmaker?

My name is Candy Lopesino, I am a Spanish photographer and cinematographer born in Madrid. After years dedicated to Photography, in 2016 I decided to learn to record moving images with my camera, motivated to finalize my photographic project THE IBERIANS with a photobook and a documentary film.

The following three years I dedicate to the study of Documentary Cinema.

Talk about your last work. What are some of the challenges you faced during production?

My latest work is my first feature film THE IBERIANS.

The Iberian Peninsula is a geographical concept formed by Spain and Portugal, two geographically united countries but separately by an invisible border.

THE IBERIANS is an essay about my travels through this territory visually narrating the things that happen while wandering around Iberia, how to write in a sketchbook.

The knowledge of a specific territory gives depth and meaning to my project, that is why my work is a continuous journey through Spain and Portugal .

They are places where I explore the concepts of territory, border, light, memory and identity.

I consider cinema as a form of artistic expression to tell oneself through the observation of the other.

What makes you want to tell stories? In other words, what are the themes/issues you want to incorporate into your work?

My main theme is Time. My biggest motivation is to catch Time. Catch Life.

The passage of Time is not perceived in the short term, but it is inevitable and continuous. Everything changes.

Please tell us about your vision and your method of approaching a new project?

My cinematographic vision is based on the "Cinema eye" theory created by the Soviet filmmaker DZIGA VERTOV in 1920. It is the art of organizing the necessary movements of things in space thanks to the use of a rhythmic artistic ensemble according to the properties of the material and the internal rhythm of each thing.

I record blocks of Time and later in the edition remove what is left over.

Who are your filmmaking influencers? What are the films that were influential for you?

There are two filmmakers who have clearly marked my cinema: DZIGA VERTOV and his film "The Man with a Camera" and PETER HUTTON with his trilogy about New York City.

How do you think the industry is changing? How has COVID affected independent filmmaking/creation?

In the entertainment film industry I think nothing has changed. As for independent cinema, this break due to Covid I think has favored the launch of films with a lower budget, with work teams of fewer people, with the possibility of creating more, which has awakened more intellect to supply the lacks.

What advice would you give to aspiring artists? What are some of the things they must follow/avoid?

My advice is that the only thing you should follow is the dictates of your heart.

Don't do anything you don't really feel.

And don't pretend to be an artist. Let them take action and if what they create is authentic, it will end up becoming Art.

Do you think films/stories can bring about a change in the world?

A large-scale change I think not. But they can raise awareness in each individual and get each one to contribute their small grain of sand, acting in their own environment.

What do you think people like to watch these days? Has the pandemic changed people's taste?

I think the pandemic has increased the taste for watching more movies at home. And that together with the great offer of series on television, I think that the days of movie theaters are numbered.

Please tell us about your upcoming projects.

My next project is my second feature film, which I am finalizing these days.

It is an urban documentary that portrays Life in the city of Madrid, a kind of big city symphony at the beginning of the 21st century.


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