LA HERIDA LUMINOSA
We are in a provincial capital, in the socially oppressive environment of Spain in the mid-50s. Unexpectedly, as it usually occurs in the complicated world of feelings, Julia’s love, a young and attractive colleague, very intelligent and funny, makes Molinos feel life again, that his life makes sense, although he cannot forget the burden of his marriage, then indissoluble.
Faced with the refusal of Elizabeth to a separation, Molinos doesn’t hesitate to resort to crime, an easy and unpunished crime because he would be executed under his professional medical condition …
JULIA GUTIÉRREZ CABA
CAYETANA GUILLÉN CUERVO
CONCHA GÓMEZ CONDE
MARÍA ELENA FLORES
JOSÉ LUIS GARCI
JOSÉ LUIS GARCI, HORACI VALCÁRCEL
LUIS MARÍA DELGADO
RAÚL PÉREZ CUBERO
JOSÉ LUIS ÁLVAREZ
I do not know what to say about “La herida luminosa”,” except that interpreters and technicians have helped and loved me as rarely before. The idea was to try again a film that would have feeling of other films of mine. That’s to say, I aspire to have someday my own voice, or said in less serious words, I have vocation of style.
The film, of course, is not “modern”. Never, not even in those distant times when there was no one in the world as young as me -I am referring of course to the Old Testament-, I never say I want to be an “underground” director, but rather let’s say “aboveground.” I have always had the suspicion that transgressive, marginalized, radical filmmakers, let alone collective groups, are basically dying to appear -like everyone else- in the Village Voice or, in order not to go that far, in El País de las Temptations. My film aspires to be a film, which is aspiration at these times.
Otherwise, what I say is of no use. It’s “La herida luminosa” that must make itself be liked and respected.
Goya – Best make up and hairdressing
Festival de Cine de Montreal – Best Director