Ana Torrent On Reuniting With Víctor Erice For Cannes Title ‘Close Your Eyes’ & Why She Believes Spanish Cinema Is In A “Very Good Moment”

Zac Ntim
·5 min read
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Veteran Spanish actor Ana Torrent (Thesis, The Other Boleyn Girl, El nido) was around five-years-old when she was cast in her first movie, the landmark drama The Spirit of the Beehive, by maverick filmmaker Víctor Erice.

Fifty years later, the pair have reunited on a new pic, Close Your Eyes (Cerrar los ojos), Erice’s first feature-length film in over a decade. The film debuts Out-of-Competition in the Cannes Premiere section on Monday.

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The film follows a famous Spanish actor, Julio Arenas, who disappears while shooting a film. Although his body is never found, the police conclude that he’s been the victim of an accident by the sea. Many years later, the mystery surrounding his disappearance is brought back into the spotlight by a TV show outlining his life and death, showing exclusive images of the last scenes he filmed, shot by his dear friend, the director Miguel Garay.

Monday’s screening will also mark Torrent’s first return to Cannes since 1976. Aged eight, she accompanied leading Spanish filmmaker Carlos Saura on the Croisette to debut their punchy drama Cria Cuervos. Torrent was the film’s lead alongside Geraldine Chaplin. The pic went on to win the Grand Prix prize from Tennessee Williams’s jury. Saura died last year following a short illness.

Below, Torrent speaks with Deadline about working with both Saura and her “full-circle moment” of returning to Cannes with Erice. The Verónica actor also shares her assessment of contemporary Spanish filmmaking, telling Deadline she believes Spanish cinema is currently “in a very good moment.”

DEADLINE: Do you remember the process of being cast and working on ‘The Spirit of the Beehive?‘

ANA TORRENT: I remember meeting Victor for the first time. He was standing around during recess at my school, taking pictures of me and other girls. He was traveling around many schools to find a young girl to cast. I remember telling my parents that some man is taking pictures of me at school. Then they called on me one day while I was in class and mentioned the movie. I also remember some things from the shoot: the atmosphere, the sounds, the lights. It wasn’t a difficult process because it wasn’t acting. I never considered myself an actress. I was just playing myself, a child, and they gave me instructions. I remember my character in the film was even supposed to have a different name, but at that age, I didn’t understand why they weren’t calling me my name, so Victor changed it to Anna. I wasn’t conscious of acting at all, and I didn’t understand what I was doing. It was just like a big mysterious game.

DEADLINE: At what point in your career do you think you became an actress?

TORRENT: It was much later. My role in The Spirit of the Beehive was a coincidence. I would have never chosen to be an actress myself. And my family had nothing to do with the film world. I was a shy and reserved person. I wasn’t like the other kids that wanted to perform in the theatre. I began to understand what acting was, and I began to enjoy it when I was 17 or 18. Again it was thanks to Victor. We kept in touch after The Spirit of the Beehive, and when I was around 16, we were speaking, and he asked me what I wanted to do career-wise. I wasn’t sure, and he asked if I thought about acting and recommended I take some acting classes. I began classes around 17, and that’s when I knew I wanted to do this for a living.

DEADLINE: It’s now decades later, and you’re reuniting with Victor on Close Your Eyes (Cerrar los Ojos). Why was this project interesting to you?

TORRENT: I was doing theatre a year ago, and Victor came to see me. We went out for dinner, and he told me he had this script. I was so emotionally moved by the script. I don’t think I would have ever doubted or questioned whether to work with him again. I never thought of this movie as a job. It was more. It felt like a full-circle moment. It felt like my life made sense after 50 years. As I said, I wouldn’t have been an actress if it wasn’t for Victor.

DEADLINE: You were last in Cannes in 1976 with Carlos Saura’s ‘Cría Cuervos.’ What does it feel like coming back after all this time?

TORRENT: I feel very excited. I have pictures of myself at Cannes with Saura when I was eight, but I don’t have many memories. At the time, I wasn’t aware of how important the festival was and what it meant to be there, so it was beautiful for me. I am very excited that I went with Saura and now I can go back with Erice. That’s something very special.

DEADLINE: Carlos Saura died last year. What do you remember about working with him as a child actor? And what is his lasting legacy?

TORRENT: In terms of Spanish cinema, he was such an important figure. He is fundamental in the story of Spanish cinema. We had a very nice relationship. He was very warm and sweet. I loved him, and he loved me. I have wonderful memories of working with him. I was lucky to work with Carlos and Victor early in my career. They were both very respectful and had an honest interest in kids. I felt very supported, and they made me feel like it was okay to be myself.

DEADLINE: You’ve worked in the industry for decades. What’s the biggest change you’ve witnessed?

TORRENT: It’s a different world. Everything has changed in how the industry works: Who decides what is made or not? Who has the power to choose? Where is the place of the producer? Where is the place of the director? Everything has changed. It’s a completely different industry.

DEADLINE: Do you think Spanish cinema is in a better place than it was when you started?

TORRENT: It always changes in waves. Right now, we’re in a very good moment. I see a lot of talent and especially women. People have been talking about that a lot because it’s true. There are now many important Spanish women directors telling stories from different points of view.

DEADLINE: What’s next for you?

TORRENT: I’m currently voicing a character in English for a children’s cartoon. I’m finishing that project next month after a year. It’s been a lot of fun. I have a couple more movies to open this year. But in terms of movies, there are a few people that I would like to work with like, say, Carla Simón or Almodóvar. I don’t know if that will happen, but I will keep doing my best.

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