Paris 70 - A Q+A with Director Dani Feixas

Hello, Happy New Year!

I am glad to introduce our first interview of the shortlisted short films from this season. Here at ShortStick, we want to watch, discuss, and understand the meanings of each film we are honoured to cover. Thus, bringing interviews this season allows us to deepen the filmmakers’ intentions and broaden their thoughts on their work and how the viewers react. 

Our first interview this week is with Paris 70 director Dani Feixas, who is on the shortlist for Best Live-Action Short Film. The film narrates the story of a son who is incumbent on taking care of his mother with Alzheimer’s disease. It is a nuanced and delicate portrait of how humans reframe making connection when memory is not a reliable tool anymore. Every moment is a new and singular connection. Championed by powerful performances of Alain Hernández, Luisa Gavasa, and Neus Asensi, Paris 70 takes a tender approach and allows the viewer to question meanings and look at the destructive reality of the illness as a new path towards caring and loving our loved ones in the last chapter of their lives. 

Below is my conversation with the director and writer of Paris 70, Dani Feixas. Enjoy it. 

-Pedro Lima

ShortStick - Congratulations on being mentioned in the 97th Academy Awards Shortlists in the Best Live-Action Short category. How did you feel when you received the news, and what were your reactions? 

Thank you so much, really! When I got the news, I was walking down the street, and a friend sent me a WhatsApp message that said "Congratulations." I immediately started smiling... It's a very beautiful moment after all the hard work we've put in.

ShortStick - Paris 70 is about the difficulties of caring for a loved one during a period of vulnerability, in this case, Alhzeimer’s effects on the person. How did you approach such a sensitive theme?

I have a lot of respect for Alzheimer's and all the diseases that cause people to suffer. To approach this topic, I did what I always do when directing documentaries: talk to people who know more than I do and ask a lot of questions about everything. I also sought the support of various Alzheimer's associations and foundations to validate the script before filming. I felt I needed their support to ensure my film could represent a real case. And that's what I did. Later, I discovered that every case of Alzheimer's is different; not all are the same. In our case, Angela is an Alzheimer's patient who is passionate about life until the very end.

ShortStick - The film has very sensible performances by Neus Asensi, Luisa Gavasa, and Alain Hernández. Regarding the film’s casting, how did you find the perfect fit for these nuanced and challenging roles? 

Thank you very much for the comment because I believe the casting of the short film is the best part of the movie. The three actors are very professional, but they are also very creative and contributed a lot to the film. I really enjoy listening to the actors and learning from them. In "Paris 70," I didn't hold any auditions; we talked with the team, and out of all the options, I decided I wanted to work with Alain, Luisa, and Neus. All three accepted my proposal. I believe they were the perfect actors for this project, and seeing the result now, I have no doubt about it. 

ShortStick - Thematically, the film approaches memory not only by the loss of it by Alzheimer's but also as a tool of connection. Tell me about the concept of white lies that you use in 'Paris 70'.

Jan is an informal caregiver, like many of us. We all fear that one day this might happen to us. One day, your parents might get sick, and the children have to take care of them without any experience. It's also true that we are mentally prepared to take care of our children, but not our parents; this isn't as natural in our minds.

As I mentioned before, Jan is worried because his mother is suffering a lot. He has to learn how to care for her. Following his doctor's recommendation, he decides to improvise a white lie to try to ease his mother's suffering. Jan faces a moral dilemma because he doesn't want to lie to his sick mother, but when he sees that the white lie works, he can't stop using it. These moments of connection between Jan and Angela bring his mother back to life, and Jan can enjoy more time with her.

ShortStick - The mother’s house is also a character. Were there any suggestions or ideas you gave the art directors to transform the scenario into a crucial part of the story? 

 I'm glad you noticed this; it's a great question because the house was very important to me, and it took me a long time to find the perfect place. The house is not only important for filming comfortably and setting up the lighting, but it also signifies a social class, a life story, and a way of being. In a way, it defines the character who lives in it. It's as important as the clothes they wear. Personally, I liked the idea of having a wooden house because I was looking for a warm place that would be a refuge for the mother. It's very difficult to find a real house where all the rooms work for filming. In our case, the room was built from scratch in a studio upstairs. We installed a bed and all the decorative elements there. The room was the most important part, and I wanted to have exterior light to film against the light. Evelin Hernandez, the art director, and her team did a great job with the decoration to achieve this result. I also want to highlight the color palette of "Paris 70"; the browns, ochres, and greens convey the warmth, intimacy, and connection with nature that I was looking for.

ShortStick - Continuing on the scenario’s territory. Was it difficult for you, as a filmmaker, to tell this story in only one setting? How did you and the cinematographer approach it?

My idea from the beginning, even before having the script, was to film in a single location with few actors. This was one of my intentions. The most beautiful thing about "Paris 70," which I find very poetic, is that even though we never leave the house, Angela, the mother, travels all over the world in her mind, and the viewer travels with her. You don't feel confined. In fact, one of my ideas when Biel Capellas directed the photography was to divide the short film into three parts, each with different lighting to represent Angela's mood. The first part is darker and colder. The second part, when she travels to Paris, is warm and bright. This part was entirely done with natural exterior light reflected with mirrors into the house through the windows. The third part returns to being dark because the disease progresses, and the mother becomes sicker.

ShortStick - Thank you so much for talking to me. Best of luck on the nominations day! 

Thank you for this interview; it has been a pleasure talking with you