My new project is a film by Shawn Garry called Desierto Sur. What are your forthcoming projects and your expectations towards the Shooting Stars events at the Berlinale? Let's hope the film market changes and we will be able to see more films from Europe and from other places, not simply from the States. However, it is very hard to judge because in Spain unfortunately there are very few European films. It is a kind of cinema that tells stories closer to our history, our societies and our lives. What is your view about films currently produced in Europe? I am also interested in the character, I wonder if it is a challenge and if I will really gain further experience by playing it. Generally I participate in films I would like to see on the big screen. My final decision is based on the emotions the script provokes in me. What interests me the most is the story we are about to tell, and what we want to show to the moviegoers. I tend to think how it will affect the audience.
I never think about whether it will be a hit or not. When you are about to choose a part do you take into consideration if the film is a potential box office hit, or are you merely interested in that particular experience as an actress? Spanish film results in the national box office is a current talking point. I tried to transfer those emotions to the story. I suppose that all of us, in one way or another, have already gone through that experience in our lives, we have all suffered because someone died, or we were afraid of losing someone. To prepare the character, memory (which is another of the film's theme) was very important to me. I loved the way Patricia approached the theme of mourning, showing how each one of us deals with it a very different way, and keeps on living. What attracted you the most in Patricia Ferreira's script and how did you approach the character? Your character in Something to be remember me by is one your best performances so far. I guess they both have their pros and cons, just like everything in life. Veteran directors are more experienced and less enthusiastic but this leaves space to focus on your character and feel more secure when you want to make suggestions. Marta Etura: Young directors have little experience but a lot of enthusiasm, which is extremely motivating for the team.
To what extent have these different experiences enriched your work as an actress? The 27-year old actress tells us about her experiences and projects and expresses her disappointment about the low distribution of European films in Spain.Ĭineuropa: In a few short years of your career, you took part in over ten films, some directed by young directors like Daniel Sánchez Arévalo, other by experienced filmmakers like Manuel Gutiérrez Aragón. Involved in drama and dance since the beginning of her career, she has worked in stage productions like Ilusiones, by Miguel del Arco Antigone, by Mauricio García Lozano Hamlet, by Juan Diego Botto, or Despertares y celebraciones, by Cristina Rota and collaborated with prestigious dance companies such as 10 & 10 Danza ( Libiamo) and Losdedae ( Return, Santa Teresa).From thrillers ( Thirteen Chimes) to romantic comedies ( Entre vivir y soñar) and melodramas ( Something to be remember me by, for which she received a Goya nomination) Marta Etura has built the reputation of being one of the most solid young acting talents from Spain, always exploring different genres and registers. Throughout her career, she has starred in films by renowned directors such as Alberto Rodríguez in Smoke & Mirrors (2016) or Fernando González Molina in the Baztán Trilogy: The Invisible Guardian (2017), The Legacy of the Bones (2019) and Offering to the Storm (2020). In 2007 she was nominated for the Goya as best leading actress for DarkBlueAlmost-Black (directed by Daniel Sánchez Arévalo) and in 2010 she won the statuette in the category of best supporting actress for Cell 211 (by Daniel Monzón). In 2001, shortly after finishing acting school, she worked under the direction of Joaquín Oristrell in the film No Shame (2001), which was followed by others like Nobody’s life (Eduard Cortés, 2002), which earned her the Goya nomination for the Best New Actress, or Para que no me olvides (Patricia Ferreira, 2005), which got her a nomination for Spain’s Academy Awards in the category of Best Supporting Actress. In parallel to this training, she received Contemporary Dance lessons by teachers like Pedro Berdäyes, Mónica Runde, Chevi Muraday, Cesc Gelabert and Francesc Bravo. Actress trained at the Cristina Rota School.
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