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LOS PAZOS DE ULLOA (Informal English title: THE MANORS OF ULLOA). Gonzalo Suárez: a fight won with fiction, Alcalá de Henares.

LOS PAZOS DE ULLOA 1

After directing "Epílogo" I was exhausted; I was unable to gather the strength to get involved in another project that involved such a creative risk. At the time, different ideas crossed my mind but they didn't take a definite shape & form. However, when I was offered to shoot "Los Pazos de Ulloa", I soon enough saw it as a feasible project and I felt like attempting something along the lines of "Parranda" [...]

Manuel Gutiérrez Aragón, Carmen Rico Godoy and I have done a live adaptation of Pardo Bazán's two novels, not exactly following what is written in its pages strictly, but first of all assimilating their contents before moving on to build the script [...]

Everything has been a little surprising for me: I am at ease, the existing literary material has had a refreshing effect on me, and in a certain sense I have had the feeling that I have rediscovered it which has given me a feeling of freedom, as if there wasn't a novel behind the project [...]

I found the scenes reflecting the local literary traditions amusing; I was very relaxed at the time; my mind wasn't full with theoretical points of view that might contradict what I was doing. I was fully immersed in the project and I thought that was a good thing.

GONZALO SUÁREZ.

 

SYNOPSIS

In los Pazos de Ulloa, a remote and wild location of Galicia in 1880, religión and witchcraft, passions and politics intermingle amid nature, giving life to unforgettable characters. Julián, a little priest whose devastating purity will have unforeseeable consequences. The Marquis of Ulloa, the gentleman incited to marry Nucha, a lady from the city for whom the hostile and brutal atmosphere of los Pazos are to represent an infernal nightmare. Sabel, the perversely beautiful maid with whom the Marquis has had a son and whose hidden ambitions are fed by her father - the shady administrator of los Pazos.

Humor and mystery, and the ancestral violence that ensues, impregnate the narration, leading us through different environments throughout four chapters, in the last of which we will find ourselves immersed in a story of incestuous love between Manolita, the daughter of Nucha, and Perucho, the son of Sabel.