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Human Beings Can Connect Despite All Odds
Dec. 2007. Nicolás, in his early twenties, finds himself standing at the threshold of a promising future. As a member of Europe’s elite student cohort, residing in Paris and preparing to pursue a master’s degree in architecture in London, life seems set on a fulfilling course.
However, the past catches up with him in “Concert for a Single Voice,” a film by Peru’s Alejandra Carpio Valdeavellano. Just before Christmas, Nicolás receives news of his mother Diana’s release from prison in Lima, where she served 18 years due to her involvement with an organization that opposed the Peruvian government.
Nicolás has inherited the family home in Lima. Selling it could fund his studies, but he needs to travel there and sign the necessary papers. This also means facing Diana again. With unresolved resentment for her political choices over motherhood, Nicolás confronts her, saying, “You said you were fighting for a better life for Peruvian children. You should have wanted to give ME something better!”
“Concert for a Single Voice” is showcased at Sanfic Industria’s Ibero-American Work in Progress (WIP), highlighting ten post-production films from Latin America and Spain. In one interpretation, the film addresses the lingering impact on relatives of political activists and the ongoing consequences of Peru’s conflict.
Yet, the film primarily explores broader themes. Through Nicolás’s reproach and Diana’s defense of her actions—“I couldn’t remain indifferent with so much suffering,” she says—“Concert” portrays that everyone has their reasons, and complete understanding often escapes us due to misinformation.
“Despite everything that can separate us, human beings are able to connect, no matter how different we are or however opposed our ideas,” Carpio explains to Variety.
Produced by Peru’s Invisible Producciones, “Concert” features Paris-based Peruvian Denzel Calle, Monserrat Brugué, and Paul Vega. Supported by grants from Ibermedia and Peru’s Ministry of Culture, producers Norma Velásquez and Carpio are collaborating with Cyriac Aurial of France’s Rémora Films to secure additional funding and plan a European release.
Variety talked with Carpio ahead of Sanfic Industria’s Ibero-American WIP, commencing on August 20 in Santiago de Chile.
”Concierto Para Una Sola Voz” suggests that many perspectives are valid. Could you elaborate?
Reality is generally complex, with multiple ways to interpret the past, events, and history. The internal war in Peru magnifies this complexity. Yet, power groups in Peru push a singular narrative, denying alternate perspectives. To speak of a single truth is to negate the existence of others.
The film starts in France, adopting Nicolás’s viewpoint towards Diana. His education about her ordeal is shared with the audience.
Indeed. It illustrates Nicolás’s realization that his understanding is partial and leads him to re-evaluate his own history. Simultaneously, he learns about his country’s past from various perspectives, and the viewer joins him in comprehending this complexity.
How does your film fit into Peruvian cinema, especially regarding Sendero Luminoso and the government’s response?
Over the past 40 years, numerous films have explored the armed conflict in Peru. “Concert For A Single Voice” emerges at a time proposing new viewpoints—focused on the present, how we relate to the conflict today, and addressing still-open wounds. These perspectives also offer personal, intimate narratives.
What guidelines did you have for directing “Concierto”?
The key was to convey closeness, capturing day-to-day situations, especially family conflicts. Family dynamics are rich with everyday moments—food, jokes, small negotiations. These details were my guiding focus.
Is there a growing presence of women directors in Latin America, particularly in Peru?
Absolutely. Several decades of work by female directors have paved the way. In recent years, Peruvian cinema has earned significant international recognition thanks to female filmmakers like Claudia Llosa and Melina León. Women in Peru’s film industry continue to progress, often through mutual support and collaborations, such as through NUNA, the association of women directors in Peru. Collaboration is vital, but representation still has a long road ahead.
“Concierto” includes scenes set in France. How was it financed?
The Peruvian Ministry of Culture’s cinematographic incentives financed almost the entire film. Attempts to secure French funding were unsuccessful. Filming in France was challenging due to a limited budget, requiring creative solutions, including shooting in the Paris subway without permits amidst World Cup distractions. Our experiences highlight our commitment to cinema.
Source: Variety
