Aida Folch stars in "Haunted Heart", directed by Fernando Trueba
We’re talking about three films in three decades. With The Shanghai Spell it was the 2000s and Aida Folch (born in Reus in 1986) was 14 years old and making her film debut. Almost a decade later, she appeared in The Artist and the Model, in French and in black and white. This summer, the actor returns to cinemas with her beloved Fernando Trueba as director. Haunted Heart (Isla perdida in Spanish) is their third collaboration. This time it is in English and Matt Dillon co-stars. It’s a “romantic thriller”, says the director, a film of “Scorpio energy”, says Folch. It’s in three acts, moving from light to dark, and shot on the remote Greek island of Trikeri.
What does Haunted Heart mean for your career? Where do you place it?
It’s an important moment because it’s the third film I’ve collaborated on with Trueba. They’re always films that are seen a lot and it’s another project that Fernando has created a new challenge with – such as working in English – so it’s an opportunity to show off my work with a character that I can shine with.
Do you think you shine?
I’ve tried giving the best of myself – everything I know. I don’t know whether that is shining (that’s not for me to say) but I’m happy with my work.
If you were to compare it to a trip, what kind of trip would it be?
A trip to hell. Or a learning journey. Or both... What happens in the film is an emotional journey in itself. In the end, love stories are a journey, for better or worse...
What references are there in the film?
Fernando is a big fan of Patricia Highsmith’s stories and Hitchcock’s films, and that’s it. It’s a classic thriller. And the way it’s shot is very beautiful and classic. The first part could be a Woody Allen film that gradually turns into something more like Highsmith or Hitchcock.
You and Matt Dillon take the leading roles. What does an actor like him – a character like that – bring to this film?
And there’s also Juan Pablo Urrego, who’s a great actor! In Dillon’s case, it was important that he was an American and that he was his age, because in his character’s past he was a musician from a very specific era. Fernando thought he was perfect for the role: he’s very American, he’s an attractive guy and he has his share of mystery...
Does working with someone with that profile change anything for a Spaniard?
No. One thing is our view of someone, but then the moment of truth arrives, which is to be on the set. In the end, we’re all the same and equal, from the one who has a single line to the protagonist. We all have to do the same thing: know our lines, hit the mark, work 12 hours...
The film takes place in the 2001. Why?
Fernando wanted technology to be less advanced, especially with phones, which take the mystery out of things. And then it was because of the characters’ ages and their pasts, especially that of Dillon’s character.
We’re not going to ask you what’s been the most difficult or challenging part of this project, but what would you say has been the most interesting?
I loved the story from the beginning, because it’s the kind of story, a psychological thriller, that I enjoy as a viewer. And then, because it’s a film that goes from light to dark, it allows you to show a range of nuances and have a great dramatic arc.
What would you like the audience to say after seeing it?
I’d like people to enjoy watching it. Like when I leave happy after seeing a film at the cinema.
When was the last time that happened to you?
The Holdovers by Alexander Payne. I laughed and was touched. I can’t ask for more from the cinema.
The typical question would be “what would you take to a deserted island”, but what do you bring back from this lost island?
I have literally brought stones. Metaphorically, experience. I’ve brought another lesson about myself, about expectations and about how I deal with projects.
