‘Carajita,’ ‘Tigre’ Co-Director Silvina Schnicer Discusses Her Horror-Influenced Family Thriller ‘The Cottage’
Silvina Schnicer’s debut solo feature, “The Cottage,” screens in competition this week at Morocco’s Marrakech Film Festival.
The film follows an upper-middle-class family in Argentina as they visit their vacation home in a rural neighborhood, only to find that squatters have been using the building and left it in an unpleasant state. The family patriarch, Rudi, tries to convince the other homeowners in the community that Tomás, the gatekeeper, is to blame and should be fired.
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Meanwhile, out of sight of their parents, the neighborhood kids wander the streets, engaging in time-honored traditions of mischief, until things go much too far, and they commit an unspeakable act. After learning what his children have done, Rudi’s goals quickly change as he seeks to cover up his children’s misdeeds.
“The Cottage” is written and directed by Schnicer, an accomplished filmmaker who co-directed several successful titles, including Guadalajara best picture and San Sebastian new directors award-winner “Carajita” and 2018 San Sebastian player “Tigre.”
Brava Cine, Werner Cine, Casa Na árvore, Villano Producciones and Palmeras Slvajes produced.
Variety caught up with Schnicer ahead of this week’s screenings to discuss her first solo outing, why the family structure makes for such rich storytelling material and the importance of solidarity in the Latin American film industry.
There are parts of the film that have undeniable horror undertones. What were some of the genre influences that made their way into ‘The Cottage’?
Honestly, the elements of the genre within the film were found once we had started filming, and they continued to appear and build in post-production. Really, it wasn’t something so pre-meditated, or at least I was not so clear about it while writing. But elements such as suspense, or even some of the “timid” horror elements, were not only generated from the scenes as we filmed but, above all, from the sound design. I think those elements ended up shaping the tone of the film the most.
Family dynamics are a key theme in the films you’ve directed so far. What do you think it is about the family unit that makes for good storytelling?
I think within the family unit, it’s a small rehearsal of what happens in life or in the world on a large scale. Also, if we add to this point that family relationships – blood ties and ties chosen in life – all human beings have, the family ends up being a very rich place from which to start telling any story. In these worlds, the most essential emotions come into play, from which empathy is built very organically and, one could say, is almost infallible.
You’ve co-directed three extremely well-received films, but I believe “The Cottage” is your first solo feature. How was the experience compared to working with a collaborator?
Yes, “La Quinta” is the first film that I directed alone. It really feels like my first film. Working in pairs establishes another dynamic: a shared responsibility for decision-making. I really like co-directing, and I would do it again. I experience cinema in a beautifully collaborative way. Without a technical team that accompanies you closely, no film is possible. However, the experience of directing alone for the first time led me to have a completely different learning experience from the one I had lived before. “The Cottage” is a very personal project inspired by my own life experiences and my family. Today, I know that it was a story that I had to carry forward alone, and I am happy and satisfied to have done it that way.
On your previous film, “Tigre,” you worked with young actors, although a bit older than the kids in this film. How did that experience prepare you for working with the kids on La Quinta?
With both children and adolescents, I like to work with talents who have had experience as well as with those who have not. In both films, I focused on looking for those who already have personalities and, from their very essence, are close to the characters I needed to build. Likewise, with each talent in each film, I had to work differently, looking for a way for each of them to be able to get to know them and work together with them with the tool that suits each one of them. I don’t think there is a formula. I think that intuition and knowing the talent is a good way to approach him or her to be able to direct them towards the desired character.
On “Mi Bestia” (Colombia), “Carajita” (Dominican Republic) and now “La Quinta” (Chile), you worked with filmmakers and co-producers from other Latin American countries. Is that a practical decision for budgetary or risk management reasons, a creative one, or a bit of both?
Film co-productions in Latin America are much more than an economic strategy. They are a powerful tool to strengthen our industry, enrich our cultural landscape, and project our voices to the world. They are a testimony of the creative force of our region and an invitation to continue building together a cinema that represents us and makes us proud. Of course, cost sharing and access to funds and incentives are key factors that make it possible to carry out ambitious projects. But beyond that, these collaborations ensure that our stories reach a much wider audience, transcending borders and creating a significant impact on the regional film industry.
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