• The film 'Nina' has been chosen to compete in the Official Section of the Málaga Film Festival. What does it mean to you to have your work premiere at one of the major film events in the country?

I feel grateful because the Málaga Film Festival has always placed trust in my work. It was through the inclusion of the film 'Ana de día' in its Official Section in 2018 that I was able to reach commercial cinemas, be nominated for the Goya Awards, and continue advancing my career until I created 'Nina'. I greatly appreciate the Málaga Film Festival's commitment to diverse and independent cinema, and its support in helping us better connect with the audience.

• What are your feelings as the festival approaches?

I'm feeling expectant. We're still in the process of finalizing the sound mixes and the credits, so it will be the first time I show it completed! But I think it's going to be impactful. I'm looking forward to seeing the audience's reaction.

• This is your second feature film as a director. Were there any specific challenges you had to face during the filming process?

Like all independent projects, financing the film was a significant challenge, and we had to make numerous cuts to achieve it, including cutting down on filming time. Therefore, the biggest challenge was ensuring we captured everything we wanted within the limited weeks of shooting. I had to meticulously plan each scene and stay focused, as any unforeseen issues could disrupt our schedule, leaving us with no margin for error.

• What inspired you to tell this particular story?

Firstly, the play upon which the film is based: 'Nina', by José Ramón Fernández. From the moment I read it, I felt a connection with the atmosphere of two lost characters reuniting upon their return to the village. Secondly, I wanted to twist the narrative away from how literature has often portrayed, particularly for women, the tale of tormented love, instead of addressing other forms of abuse. 'Nina' is, in turn, based on the character of ‘La Gaviota’ by Chekhov. In the final scene of this play, Nina returns to the village broken-hearted after being systematically mistreated by Trigorin in the city, yet in her concluding monologue, she declares her continued love for him and asserts the necessity of enduring suffering. And I thought: “Come on, what if Nina returned not consumed by love but seeking revenge?” And that's where the two stories converged.

• How was it working with the cast and technical team?

Overall, it was a shoot that I'll hold dear in memory. It was my first experience outside the underground scene, and there were aspects I wasn't accustomed to: a larger, unfamiliar technical team used to working on major productions... But it was a pleasant experience. I made good friends and people I'll undoubtedly work with again. Additionally, our time together in Mundaka brought us closer.

Regarding the cast, Patricia López Arnaiz is the best actress we have in our industry right now. She's the anti-star star. Her emotional connection, intelligence, and humility are amazing... I only have good words for her and the rest of the cast. They were all excellent, both professionally and personally.

• Lastly, what's next for you? What are your upcoming steps?

I have many ongoing projects and none confirmed yet, but the most tangible is that I'm waiting to finalize the rights for two films (one of them will be a co-production, and the other is a commissioned project) and scheduling the filming dates for a comedy series written by Lorena Iglesias, which I'm excited to begin shooting. And if none of these materialise, I'll continue teaching.