When talking about a movie starring three women and directed by a fourth, the issue of rebellion against the sexual abuse in the world of cinema ] was unavoidable. Especially after a hundred French artists and intellectuals have spoken out against the "Puritanism" that the Tuitrean movement contains #Metoo in the wake of the scandal Weinstein . The Spanish verdict seems clear. Not a step back; the reaction of colleagues from the neighboring country is a step backward sustained in "a bullshit like a house", Adriana Ozores sentence in conversation with La Vanguardia in the thread of the premiere this Friday of the tragicomedy
Thi Mai where she performs with Carmen Machi and Aitana Sánchez Gijón, under Patricia Ferreira, with Dani Rovira in the background.
Thi Mai, which in Vietnamese means tomorrow, is the name of the girl in the film the daughter of Carmen's character (Machi) had requested for single-parent adoption before dying in an accident. The disconsolate mother wants to complete the adoption process and become the child's grandmother. For that, he goes to Hanoi. She is accompanied by her friends Elvira (Sánchez-Gijón) and Rosa (Ozores), whom the former defines as "a shitty pre-retirement and a bored housewife". The journey derives in a succession of adventures to which Carmen refers with irony as a kind of reality in the plan for the world.
The film is -asume Ozores- an "unpretentious" product that will surely reap more success than Box office that criticism. But she happily accepted the role, not only for the "double trip" – physical and vital – of her character but for "the excellent script architecture" of the script. And then the actress had a pipe during the filming in Vietnam, in which the team lived situations as funny as in fiction.
The film combines with risk a drama about adoption with laughter for some funny adventures  On the evolution of the lady she embodies, Ozores highlights how, "to be asleep and show little conscience, is awakening to their abilities, their freedom and their potential". Something that "always costs us all."
The film mixes with a certain risk a hard drama in the background with moments of fun and relaxation. And between one thing and another, appeals to feelings. The actress defends the bet in this way: "Well, we do not laugh at funerals! Life is so. with light and dark; laughs and cries that sometimes happen quickly even though sometimes we give a little reparo. "
The least debatable is the solvency of the interpreters, who occupy 80% of the role. An unusual proportion, and more in the case of female characters that exceed 40 years. That is simply due, Ozores maintains, to the scarce index of women at the forefront of film projects. "If there were more directors and managers in this industry, we would see how there would be more actresses," she says.
The position of the interpreter in the ongoing feminist battle, for equality and against abuses, is firm. Of the criticisms to the # MeToo by Catherine Deneuve and one hundred of her fellow countrymen, she says: "I think it's a tantrum and a step back. The action of Hollywood actresses, which should be welcome, should not lead to repressed sexuality, of course. But they – the French signatories of the manifesto that stresses the danger of ending the gallantry – should have taken into account the whole history of this struggle. They have said a boutade, a bullshit like a house ", says Ozores in opinion that says shared with all the Spanish actresses he knows. The worst thing, he adds, is that the "pugilato" is encouraged over "a basic and indisputable question" about the dignity of half of human beings. "A pity, a sadness".