Verónica Chen was born in Buenos Aires and raised in Texas. Her films have screened at festivals such as Venice, Sundance, and San Sebastián, among others. Her films include “Smokers Only” (“Vagón Fumador”), “Agua,” “Rabbit Woman” (“Mujer Conejo”), and “Rosita.”
“High Tide” premiered at the 2020 Sundance Film Festival on January 27.
W&H: Describe the film for us in your own words.
VC: The film plays on the tensions between working-class laborers at the service of middle-class professionals on vacation at a seaside setting. The ideas of summer, beaches, and holidays mix with images of nudity, swimming, drinks, and sex. Sometimes you can get mixed up and think we’re all the same — skin is skin, [after all,] especially if we share tattoos, taste in music, and shades of blonde. But no — we’re not the same. There’s a very precise line separating us, and you might have made a mistake and stepped on it, but you should never cross it.
W&H: What drew you to this story?
VC: I am shooting a four-part opus: one for each season, all taking place in different beaches of the same local area. It’s called “The Coast Quartet” (“El Cuarteto de la costa”). We call “the coast” the beach.
It’s about these people who have their holiday summer houses in this place and either they’re all friends or they’re acquainted with each other. I wanted to explore how these characters relate with the local people who live there all year round and work for them.
It’s the class tensions that interest me: between middle-class professional and cultivated people and working-class [people] who can suddenly become the enemy when they feel threatened.
All the main characters are women because I feel more comfortable [telling stories] through their eyes.
W&H: What do you want people to think about when they are leaving the theater?
VC: I would rather like them to feel more than think clearly about anything. I want them to feel some of these emotions: upset, confused, angry, guilty, aroused, ashamed.
W&H: What was the biggest challenge in making the film?
VC: Well, I was seven months pregnant during shooting. Every sand dune I had to climb was really challenging!
W&H: How did you get your film funded? Share some insights into how you got the film made.
VC: In Argentina we have INCAA, which is the state National Institute which gives funding, deduced from a percentage earned by film tickets. We privately advanced the funding, since we needed cash upfront to shoot before INCAA could [reimburse us].
We also had a co-producer from Uruguay who collaborated with sound in post-production. It is a very small film, shot in three weeks in basically a single location, so it was possible. Otherwise we would have needed additional funding which we generally seek in co-productions, sales, and advances.
W&H: What inspired you to become a filmmaker?
VC: Like many people from my generation, the films from Leonardo Favio, a filmmaker and very popular singer, almost unknown outside Argentina, were my inspiration. He came from a low-class background in a rural town and acted and sang in order to not only raise money for his films, but also make a living. His films are beautiful and sentimental — in a good way. From watching his films, I began to see the possibility of actually making a film a reality.
Up until then, I just admired films. Hollywood seemed as far away as Africa. Digital film didn’t exist — camcorders were taking off, but video was a very low quality format. I shot my first two films on film, the first one in 16mm and blown up and the second in 35mm. Editing was beginning to be digital. Avid had appeared but some people still edited in film. Favio gave me the inspiration, made me feel like filmmaking was accessible.
W&H: What’s the best and worst advice you’ve received?
VC: From a director and producer friend, who is older than me: “Always say that things are going ‘slightly better’ than they really are during the production of a film. That is both the best and worst piece of advice I’ve received.
W&H: What advice do you have for other female directors?
VC: Stand up. Take no shit. Be friendly with female crew and industry members and help them when you can.
W&H: Name your favorite woman-directed film and why.
VC: “Beau Travail” by Claire Denis. It has a unique vision of men, the male body, and feelings which I find could only come from a woman. Particularly from a woman who loves men and is interested in them erotically.
W&H: What differences have you noticed in the industry since the #MeToo and #TimesUp movements launched?
VC: I can speak only for Argentina, my country. There is a greater awareness of unfairness and violence towards women. But I find the changes happening are generally due to fear of retaliation and fear of the public eye, rather than a real consciousness of the situation and an ethical vision. But I am optimistic and believe it takes time to change, and things are changing [and will not go back].
