Una

UNA refuses to condemn or forgive Una or Ray. I'm not interested in cinema as a kind of emotional placebo. I prefer the cinema as an open wound. I want the audience to come out asking questions.

By adapting the piece to the canvases with David Harrower, I was interested in how the unique relationship of cinema with time could allow us to represent mechanisms of memory and trauma. He was interested in how the film could describe a fragile membrane between past and present. In UNA, the tense and claustrophobic present is interrupted by fragmented and fleeting memories. This creates a sad and dreamy feeling - the past mingles with the present as a forgotten melody. I have taken inspiration from films like HIROSHIMA MY LOVE (Alain Resnais / Marguerite Duras), which evokes how the past coexists with the present.



The film works as a kind of reversal of the "myth Lolita". While LOLITA describes its taboo relationship purely from the point of view of the seductive man, UNA is experienced from the point of view of the girl and the woman that she becomes. The events of the summer in which Una was 13 still exert a tremendous magnetic force on her. His encounter with Ray draws us into the knot of his sexual obsession.