Monica Antonópulos she becomes Juliana, a successful television host who, after eight years in a relationship with Bruno (Ezequiel Tronconi), wants to be a mother and meets the contradictions that this decision brings to her partner in the film El Encanto (which can be seen today , at 20, on Cine.ar TV or via streaming until Thursday by Cine.ar play for free). In times of coronavirus, the actress who lost her job after she was canceled, Polka's fiction Separadas, and who is living the quarantine with her two children and her partner, also actor Marco Antonio Caponi, He spoke to LA NACION about this special premiere, about motherhood and desire, about the television industry and its release on social networks against the producer of Adrián Suar.
El Encanto trailer
-Maternity is an issue that challenges. Between duty and desire, many women perhaps postpone the search while others decide to end their partner because they are not on the same page. What happens between Juliana and Bruno in The charm?
-I think what this movie brings is what happens when the couple doesn't talk about what they have to talk about. The character that Tronconi plays evades. Topics include the fantasy of losing freedom, the reality of losing freedom. They also talk about what happens to them as a couple, if the arrival of a child is an individual wish or if it is what the bond is needing or if they are bored. It also raises what happens to her that in the moment of greatest job expansion, of recognition, she is wanting to have a child, the biological pressure is at stake. It is about putting the issues on the table. Then you see his reaction and in the end it ends as it should have started: with dialogue.
-Many women decide not to be mothers …
-It is a labor of great dedication, I agree and accept when there are women who do not consider it as an option. It seems totally respectable to me both when a woman decides to face it, and when she decides that her life does not go there. They are very strong processes. I had two natural deliveries 6 years apart. In the second one, the abortion law was being discussed and I was giving birth to my second child. I do not wish to give birth to any woman who does not want to. If not, it becomes something that for some is a surrender and changes their lives, something bad for both the person and the being that arrives. Women who do not want it I think they need our embrace and understanding.
-Maternity is currently being reviewed and some pose a certain contradiction between just job growth and having a family …
-I think that in this learning process in which we are, instead of saying what is right and what is wrong, we must start doing a job where the ambivalent and the contradiction coexist because if not, we want to run away from a rigid posture and we settle into another. It is only now that we are beginning to open our backpacks and realize what we are carrying and sustaining: pressures that have been imposed on us by the patriarchy and that we have carried and continue to sustain.
-The quarantine somehow put everyone to work at home …
-One also begins to realize that one thing is mothering and others are housework, before it was thought that they fell within the same. Today you realize that no, you zoom in on personal life: everyday life and housework take quality out of your motherhood.
-To that is added home school, how are you doing that part?
– I believe that this situation puts absolutely everything into discussion: from what I want, why I want it, how many hours my son spends at school, if he is learning there. Today I prioritize the moments to go out and breathe and take a breath more than doing my homework. We are all discussing a system that is falling. It took us here where it seems that we live to produce, but it seems that it led us to do instead of being. The reality is that there is a fierce labor market, which does not include children. You have to start looking at places so that mothers and fathers can take their children, because if not, schooling became a place of deposit so that parents can go to work.
-In what sense?
-A year ago I remember being taking my oldest son to school and he said to me: "How boring it is to always do the same thing, right?" That question I took to my entire inner circle. I couldn't stop crying because he had questioned me so deeply about something that he was also asking me. I was wondering where life goes, leaving the house, taking my son to school, going to work … This is the way we know to generate money and survive in this wheel that all you do is run. an unreachable carrot. It gives me the feeling that this situation is leading us to stop. We find that we all have the same fears. No matter what rank you are, if you are an entrepreneur, the president, the boss, we all have the same existential fear of dying. I don't feel like we're locked up now and we were free before. It leads me to a slightly more philosophical discussion. What is the Liberty? free of what? Of the clock? Of running? Of which every minute is to produce?
-Isolation did the opposite, it put the world on pause, what does this pause bring you?
-It is to zoom in on your life, let's not look outside anymore. With Marco we are accompanying ourselves a lot and we are both in an internal process of emptying, as if we were stuffed. It won us to see in each other how much strength and love we are putting. Really, from the first moment. Understanding that this needs a lot of collaboration and that we are both doing our best. The love that is getting is pondered. I am doing an enormous exercise with the cell phone because it exhausts my eyes, my head. We are not watching series or anything. This time is an invitation to see us in the harshness, 24 hours a day. It is an opportunity: either we are left crying over the frustrated plan of 2020-2021 or we realize that we are a little bit more and that our actions collaborate. I realize that I have a more important task that is not the individual but the collective. It can be a limit to something and a threshold too.
– How they live the situation of the industry? They are both actors and the pandemic left out everything that has to do with art and there does not seem to be a specific date for the return of activities.
-We were both working on the same thing. He found us familiarly in the same crisis, but he reconfirmed the way we want to look at things. We meet as partners in points of view. We will end by thanking.
Think and rethink
Antonópulos is 38 and for several years he has chosen not to give notes that place value on aesthetics, he has also been reflecting – a statement that was accentuated with isolation – on the schooling of his children and on the need to think collectively. Something that, he says, he learned as part of teams like those faced by Pablo Echarri, with whom he worked in The chosen one and The lioness, whom he defines as a formator and reference of collective creations. "Pablo and his team made their own projects, bet on their production and were able to combine the commercial with their own text. Furthermore, there is always a complaint in their proposals and the characters are not clearly stereotyped," he says. Before releasing the film directed by Tronconi himself along with Juan Pablo Sasiaín, the actress played a role that had won everyone's sympathy, it was Clara Rivero (in Separated), a woman who, after the death of her husband, who had not only been unfaithful to her but was involved in shady business, "awakened" and has to support her two children and all the details of the house and her finances.
-Your role of Clara in Separated It also focused on motherhood, but from a different place, why do you think it made such a deep impression on the public?
-That character summoned me and I wanted to take him from a person who woke up. Obviously caricaturing the places and putting clumsiness at the service of history to humanize it. He was tripping over his own clumsiness. I was interested in the possibility of showing a woman who was suddenly asleep, a story had been told (as a kind of "Sleeping Beauty" archetype), she woke up, reality fell apart, she crashed and she did not open her eyes. eyes. I like it when I have the possibility of facing characters as human as possible. Did you see that we were taught to hide our clumsiness as if it were weakness? Sometimes those clumsiness are the strengths we have. What generates empathy is what we are and we are still monkeys!
-There was a lot of talk about your chemistry with Sebastián Estevánez, who played Miguel, in fiction. How did you come to that understanding?
-I really enjoyed the cast. I was touched by some very generous colleagues who were celebrating my work too … an incredible team of directors, the author. I have known Sebastián for many years. It seemed to me that he could be evaluated by running from the stereotype of the leading man. It could be enjoyed from a newer place. I really appreciated that he wants to play and the truth is that in the scenes we had a lot of fun. I had a great time. I enjoyed every moment I was, it had been years since I had worked at Polka.
-There was a lot of talk about Your release for the situation of Polka, what happened to that?
-I made my release on my network, which is the way to guarantee that my own voice is communicated, but beyond the fact that there are always the interests of wanting to inform, it was not against someone or something, nor against a producer, nor with a visible face -that he is someone who has given a lot of work and has gone through a critical situation, which overflowed everyone. In this context, sometimes there is riot and speculation and, having a voice with some scope, I feel committed to having to communicate things when I see that there are actions that harm the most vulnerable in the chain. It is clearly not me. The claim did not want to be from something individual but collective. One does not have to stop contextualizing that we are all locked up by a virus that puts your life at risk. It is not your choice not to go to work. It is a situation in which we all have to take care of ourselves and we are all afraid, it happens to us that we do not know when we are going to return to work. There are activities that will not return or you do not know when they will return. While behaviors that bet on individualism appear, solidarity also appears. One of the things that was put into discussion of the management that was done was what happened with the social work of the actors (OSA), which was severely affected.
-Part of the crisis had to do with the coronavirus situation, but the industry has also been experiencing other problems …
-Here there was another situation, from day 1, a company said: "You can't." It was not a "consequence of …" Nor did I agree with hitting Adrian, who was a generator of work. It seems to me that in any case a structure must be reformulated. I share what he says that all sectors must sit down to talk: unions, producers, actors and see how it is reformulated. This does not mean that I will omit or accompany behaviors that go against my values.
-Do you think that premieres on platforms or on television will be part of the new normal?
-I think these are opportunities, thinking that sometimes these types of films are shown in one or two theaters, in the Gaumont, and that they always have the same type of audience, now they are going to reach more people, for free. We will see what information it brings. Obviously for people who like to go to the movies, the mystique is lost, but there are other positive things
-How do you imagine the post pandemic industry?
-There are things that have to do with the economic crisis, others that have to do with how audiovisuals changed. The formats that worked have to be added to another form. There is talk of crisis but you see the platforms and they explode, people are binging. So I think we have to reformulate, because there is something that has to do with the progress of technology. And the TV will see how it will adapt to these new needs or will remain a classic format, I do not know. Also understand how sometimes decisions to put canned programs hurt. It seems to me that the time has come for there to be a work goal, for everyone to come together. Today there is a great force with young people who are a power. Hopefully they bring a new way of working, not a reinvention of the usual. Much more collective. We are a small nucleus more or less privileged but there are many people who are left out.
Stereotypes and responsibility
Camilo's mother, 8 years old, as a result of her relationship with Coraje Ábalos, and Valentino, 2, who she had with Marco Antonio Caponi, Mónica tells that she was in the process of weaning her second son but that she was in her forties and both time at home delayed the process. He also reveals when he started his fight against the canons of beauty and perfection that govern the world of celebrities. "When Camilo was born, I was in the puerperium, working and they came to make a note in which I said that I felt cheated and that I did not understand how they could say" I am in my best moment "," I have more passion than ever "," I am more sexual than ever, "after giving birth. Those phrases give you guilt and generate pressure because you are still recovering from your birth, you are reuniting with your body. I was outraged," she says. And he adds: "This shortage is still being proposed: they sell clouds of roses generating pressure, disease, standards of beauty, of happiness when in reality we are ambivalent." Although that message was not well seen, the actress thinks that perhaps today it would be read differently.
-There is something in your speech that humanizes the actress, how do these two facets of you coexist?
-In the last time, I took off the weight of wanting to hold the doll disconnected as if they were two people living together: the celebrity and the human. I started to make more responsible use of my little voice and tried not to have as much contradiction between what I think, my way of educating my children, my values and what I communicate. I try to have a criterion. This led me not to accept giving notes to many magazines, not to ponder or show a rich life that I do not have, not to collaborate in communicating that happiness is having or beauty. I take it that I respond to a standard but I try to show that that does not assure you anything.
-Just all this was revealed days ago with the cover of a magazine that spoke of a "plus size" look …
– I believe that it is a moment where there are double discourses. On the one hand we are feminists and, on the other hand, we continue to commune with things that tell another story. We talk about accepting our bodies as they are and that we do not want to be seen as objects, and yet we continue to show, dress and communicate as if we were stereotypes of objects of desire. Something rude and sick is criticized but later many of these characters are shown with their ass in the nape of the neck in a cover. At times the positions have to be extreme. With this same criterion, I choose the characters, my projects. They come and tell you "this character is female empowered" and you read the script and it is at the service of the protagonist. It is like a misunderstanding of empowerment. You say the same as before but in a different way. I continue to operate as an object of desire of another and as an object of desire of the patriarchal gaze of always. We must be very careful not to fall into the same traps and collaborate among women, many have not yet awakened.
. (tagsToTranslate) Mónica Antonópulos: "Having a voice with reach (t) I feel in the commitment to communicate things" – LA NACION