Used well, the figure of the child can be truly terrifying. movies like The city of the damned (1960)corn boys (1984) and the orphanage (2007) are cinematic proof of how a handful of children – or even just one – are able to make even the most skeptical viewer squirm in their seat, there Tin and Tina He is ready to do the same.
With Jaime Lorente and Milena Smit, who are experiencing one of the best stages of their careers, he is surrounded by the success of money theftand she, from The Snow Maiden and to be an almodovar girl in Parallel mothers—, tells the story of newlyweds desperate to experience parenthood at any cost. To do this, they decide to adopt two extremely devoted twins who make them overcome the loss of their two unborn babies.
These are two younger ones that many have surely seen on the small and the big screen: on the one hand, Carlos Gonzalez Morollonone of the most memorable children of the current Spanish billboard being present in the blockbusters of Father there is only one; there Anastasia Russowith more baggage in terror thanks to Stories not to sleep and the next movie Charlotte Pereda, the Hermitage.
Anastasia Russo and Carlos González Morollón as Tina and Tin. / DYP Communication
He boom of children’s cinema in the Spanish industry reopens a subject that has always aroused the curiosity of the public: how is filming done with children? Alfred Hitchcock He’s warned before that choosing them – and the animals – as elements of your film is a mistake, not least because of the complications that entails. But, What do Lorente and Smit, parents in the fiction of Tin and Tina, think?
Child’s play
It’s clear that a film like this cannot be understood without children: one of the concepts that the film intends to explore is how the innocence of childhood can lead to truly dark situations, and it does not there is no one like Morollón and Russo to represent him. And it seems that they were the most accessible.
“They have been super present since we rehearsed, a family dynamic has been created. In fact, my job in the film was to escape: I created a lot of bond with them already in rehearsals. sees on screen. When things they do in life, it’s easy for them to appear on screen. It was more of a job to take away,” Lorente comments at LOS40.
Carlos and Anastasia with the director on the set. / manutrillo
It does not refer to anything other than removing complicity, since the character of Adolfo is a loving father, although he is absent for professional reasons. Milena —Lola—, is a mother who tries to connect with her new children, although she finds it difficult to trust them. Something very different from what he experienced behind the scenes: “I remember the rehearsals we did of the games. We created scenes, which may not appear in the film, but which generated trust in this family. They are so loving, so funny. .. It was very easy.”
Of course, how to work as a child in a family like the one presented santiago safe It’s a thing; but to be at the behest of a God whose gospel you interpret in the most sinister way is quite another. For this reason, their preparation is also very interesting: “There were two coaches for them. The job is to try to create a safe, fun environment for them, so that they understand that acting like a game for them”, continues Lorente. After that, add a detail for how they dealt with the dangerous scenes: “We also had to be very careful because they had to recreate scenes with very violent content. The work of the professionals was very fine, because they had to learn to differentiate fiction from reality,” he adds.
We had to be very careful because they had to recreate scenes with very violent content.
And it is that the story of Tin and Tina It’s no joke: the two sons intend to fit in at all costs, but without giving up some of the riskiest old habits. “It needs to be a place where they feel safe to have a creative space without having to associate what they are performing with real life. Otherwise, you can be very confusing,” Milena insists.
Like former cast members, the star couple made it very clear that they had to take care of their young colleagues’ work during the experience: “The film set is a complicated place. There are a lot of joys but there is also a lot of tension, there are cries, there is to create this little bubble”, concludes Lorente. The result? A film as uncomfortable as it is stifling, which can fulfill its role and make it clear that not only children know how to act, but they also do it scary. Literally.
Tin and Tina opens March 31 in theaters.