Carmen Maura wasn’t expecting to embark on one of the most challenging, yet rewarding roles of her career when she joined “Calle Málaga,” Maryam Touzani’s poignant third feature.
The iconic Goya- and César-winning actor, known worldwide as Pedro Almodóvar’s original muse, fearlessly stars in the film as Maria Angeles, a 79-year-old Spaniard whose peaceful life in Tangier is turned upside down when her daughter arrives from Madrid with the intention of selling her longtime home. Determined not to be uprooted, she discovers romance, desire and a hunger for life. Since winning the Audience Award at Venice and Mill Valley, the film has sparked an emotional wave across festivals, including at Toronto. Morocco’s official Oscar submission, “Calle Malaga” will next be kicking off the 37th Palm Springs Festival.
“It feels miraculous,” Maura says, looking radiant at the Marrakech Film Festival, where “Calle Malaga” had a gala screening earlier this week. “I didn’t have that sensation at all while we were making it,” she says candidly, before sharing that the shoot was far from restful as Touzani’s meticulous approach took her out of her comfort zone.
“I read the script and adored it,” she says. “But the work afterward was very hard because Maryam likes to redo scenes many, many times. I’m not used to that.”
Touzani, whose first two films “Adam” and “The Blue Caftan” have been critical and commercial hits, had given Maura a heads up early on that it wouldn’t be an ordinary role.
“She warned me about two difficult things. She said, ‘You will be there every day, in every sequence, and you will also have to be naked in one scene,’” Maura recalls with a laugher. “It was the first time in my entire career that a director asked me to be naked. Ten years ago I would have said no. But now I’m free! — I have nothing to prove.”
The film, produced by Nabil Ayouch and acquired by Strand Releasing for North American distribution, explores aging as a final frontier of freedom, a theme Maura embraced wholeheartedly, even when the shoot and Touzani’s rigor tested her in unexpected ways. She also discovered the wonders of Tangier, where the film shot entirely, and bonded with her onscreen lover, Ahmed Boulane, a Moroccan director and actor who learned Spanish for the part.
With “Calle Malaga,” Maura insists the triumph belongs equally to Touzani. “When I’m given an acting prize for this film, I think half of it belongs to Maryam,” she says. “Because so often, I simply obeyed.”
After completing “Calle Malaga,” Maura hoped to take a break but instead found herself reuniting with Alex de la Iglesia, for “La cuidadora.” While it’s not exactly a feelgood movie – she stars as a 80-year-old widow who needs a caregiver after suffering a home accident — she says the shoot was like “therapy — like taking a medicine” because de la Iglesia let her improvise.
In an interview with Variety at the Marrakech Film Festival, Maura opened up – in French — about her tumultuous and transformative experience making “Calle Malaga” and her collaboration with Touzani. She also shared vivid memories of Almodóvar, who directed her in some of his best-known films, including “Women on the Verge of a Nervous Breakdown;” and why she still follows her instinct — even after 50 years on screen.
You’re wonderful in “Calle Málaga.” Were you surprised by the reaction to the film?
Yes. For me, it feels miraculous. I didn’t have that sensation at all during the shoot. I don’t know why. I’m very surprised. I’ve received wonderful reviews, and I wasn’t aware of what the result would be.
What drew you to the project?
I read the script and adored it. My first conversations with Maryam were wonderful. But the work afterward was very hard because she likes to redo scenes many, many times. I’m not used to that. And I was in every scene, every day. She warned me about two difficult things: “You will be there every day, in every sequence, and you will also have to be naked.” It was the first time in my entire career that someone asked me to be naked. Ten years ago I would have said no. But now I’m free! I have nothing to prove.
It seems that the role of Maria Angeles was written for you. Did you identify with your character and did you put some of yourself in it through improvisation?
Maria is sympathetic and strong. I understand everything she does. I love the character. But everything in the film is from the script. Improvising with Maryam? Impossible. I did exactly what she wanted.
What was your reaction when you saw the finished film?
I said: “Hats off to Maryam.” When I receive an acting award for this film, I feel half of it belongs to her. Very often I simply obeyed — even down to tiny gestures.
How was the chemistry with Ahmed, your co-star with whom you share a love scene?
Very good. He has a wonderful gaze — you really believe he is falling in love. On the first day of shooting something with the mirror, he looked at me and I thought: “Okay, he knows how to look.”
He was also nervous about certain things. He speaks Italian but not Spanish, so he worked very hard. He was very generous. And he is tall, well-mannered, very kind. It wasn’t difficult to fall in love with him for the film.
And working in Tangier?
I loved it. I lived in a beautiful old house five minutes from the set. I was always surrounded by people. I discovered a wonderful place. The cats and dogs… they’re so respected there. And people were easy to communicate with even if they didn’t speak Spanish.
Do you ever watch rushes during a shoot?
Never. That way I keep the surprise. I stay inside the role — I’m not “shooting a film,” I’m living a life.
So you’re almost a method actor?
I never took an acting class. I learned from short films and from watching other actors — what I liked and what I didn’t. As a child, I was already a good actress. I invented stories, directed my friends, wrote plays. I often played the villain or directed the piece myself. Then I was part of an amateur theater group. At some point, everyone in the group started pursuing these careers, so they stopped doing theater. When I found myself without a group, I went on join a semi-professional group.
Is that how you met Pedro Almodóvar?
No. We truly met when I did my first serious play, Sartre’s “Dirty Hands.” Pedro played a terrorist. He would always come to my dressing room, and we would talk about life and women. My personal life was very difficult then, and he helped me a lot. He made me laugh. I immediately recognized his talent. I always knew he would go very far.
What’s next for you?
Just before coming here, a young director approached me. He was emotional when he saw me; he really wanted me to work with him. That touched me. He told me it was only fifteen days of shooting and not a lead role, so I said yes. For me, the most important thing in life is desire. And in the Spring I have another film coming out — Alex de la Iglesia’s “La cuidadora.” I wasn’t going to do it because I was tired, but after doing “Calle Malaga,” I needed to breathe. Working with Alex was the complete opposite — he lets me improvise, he leaves the camera rolling. For me it was like going to a psychologist. Like taking a medicine. I came out very happy.
