MADRID.- “Lobo feroz”, a suffocating thriller that borders on horror films, manages to turn the tale of Little Red Riding Hood on its head, filling the viewer with doubts. Here, the film’s director, the Uruguayan Gustavo Hernández, explains to EFE, “each character goes through a void, and in this game everyone can be the big bad wolf.”
With a script by the director himself, along with the Uruguayan Juma Fodde and the Spanish Conchi del Río, the film is a revision of the Israeli film “Big Bad Wolves” (Aharon Keshales and Navot Papushado, 2013), famous because the American filmmaker Quentin Tarantino said that he liked it a lot.
“I was excited because I saw the possibility of giving it my style and to approach the subject of revenge so directly, it was a challenge,” says Hernández.
Because “Big Bad Wolf” talks about revenge, but also obsessions, pain, injustice, wickedness and filial love.
A policeman capable of competing in cruelty with the criminals he is chasing (Javier Gutiérrez) is convinced that a music teacher (Rubén Ochandiano) is the serial killer of a bunch of girls whom he tortures and mutilates after abusing they.
The mother of his latest victim (Adriana Ugarte), who lives on the edge of the law with her father (Antonio Dechent), decides to punish him.
For the director, the original “was a very masculine film and I wanted it to be more choral, more diverse”, and for this he reversed the gender of some protagonists. He did maintain the black humor, because “the story is quite crude and the tension is constant” and these “pearls” serve as an escape “to loosen the viewer a bit.”
And he was left with “a film full of grays where each of his characters goes through a void and in this game everyone can be the big bad wolf. What we think can be, sometimes it is not. The interesting thing is that the viewer doubts about who is the real big bad wolf.”
Hernández spoke by phone with EFE, since he could not travel to Madrid, where his actors were, as he was in the middle of filming a series for Disney that has him “with one foot in Uruguay and the other in Argentina.”
Ugarte assures EFE that Matilde is the role that has cost her the most physically to build and the one that had the most “emotional twisting.”
“Something I didn’t expect happened to me and that is, when building her body – she says that before each take, she turned into a ‘little zombie’ doing leg, hand, eye exercises and going over the tics to be Matilde -, I had a very big handle. It was so defined that it helped me a lot to focus.”
“There is a very big tendency -says the actress- to immediately find the wolf from outside, because you don’t want to see yours”.
Dechent considers that the word that best defines the film is “wound”. “Not only do we physically see many wounds, some quite bleeding, but all the characters have their existential wounds and scars that are open, and continue to ooze.”
“And then there are the circumstances. I consider myself a victim and I’d rather get out of a fight ‘by legs’ than attack someone. But, what if circumstances force you to be a wolf?”, the actor wonders.
Also for Ochandiano “the wolf, the psychopath, can be where you least expect it. Things are not what they seem.”
While Gutiérrez goes further: “we are seeing it in this society in which we have breakfast every day with tremendous cases of violence, also with children, and many times you do not know where this evil comes from, if it is in ourselves, in society and if we would all be capable of exerting certain violence at certain moments”.
Distributed by Filmax, the film opens in theaters in Spain this Friday and will later be seen on Netflix.