NORA, THE FILMMAKER
The following is an extract from an interview with Nora de Izcue that appeared in the monthly Peruvian journal "Tortuga", N° 4, 1982 of the Peruvian women's Association
Mujer-Mujer (Bellavista 237 - Miraflores - Peru).
by Giovanna Pollarolo
Nora de Izcue Is preparing her first full-length film - a film about traditional medicine, about an almost unknown reality: the jungle — after a long history of work in films. She has directed many short films. "Runan Cayan", is her most important work. Others are "Guitarra Sin Cuerdas" ("Guitar Without Strings"), "Te invito a Jugar" ("I invite You to
Play").
Making a full-length film is very difficult in our country (Peru), basically because of the lack of funds, and the lack of incentives to promote a film industry. In spite of this Nora
de Izcue has been able to find the funds thanks to a Peruvian- Cuban co-production. For the next few months she will be in Iquitos with her equipment working on her film.
We interviewed her for two reasons: first, our interest in the development of a national film industry and secondly, a more specific interest. Nora de Izcue will be the first Peruvian women to direct a full-length film: we want to know how, as a woman, she has developed her work. ;
Q. What made you go into films
R. In 1967 I had just got divorced and I had no training for any kind of work, I had only been trained to be a housewife. Finding myself in this new situation I wanted to work, but I had no fixed idea of what I wanted to do or could do; I thought of doing something for television... The television programme was one more unsuccessful project, but my studies in the Academy interested me; I studied in 1967-1968 and from then on I began to work in movies. I had never been particularly interested in movies, much less had I ever thought of working professionally in films, it all began because of my participation in the Academy. Work in films began to interest me, it was a very important moment in my life. I was then 32 years old and had small children. If someone had told me at that moment that I would work professionally, and that I would make films I would have thought it the most absurd thing in the world.
Q. How did this change — this new life — affect your obligations as a mother, your relationship with your children; was it difficult to harmonize your new activities with your
previous concerns?
R. I didn't find it very difficult. Maybe at the beginning there were some adjustments, but while my children were small I spent more time studying than making films. The first two or three years were like this. I never had great difficulties, I didn't feel any irreconcilable opposition between the house and work or personal activities; there was always a way of organizing the house, of not leaving the children and of getting them to share in my work.
Q. Your films don't deal with women's problems: Do you
think there is such a thing or that it is possible to make films
about it?
R. Yes, it's true, it's true. I think I haven't expressed them, maybe because I haven't experienced them personally. It is true that there is a women's question though I think it was much worse for my generation than now. Girls nowadays have far more opportunities open to them. I have been asked this question many times and I've always answered that I've never felt the need to express it. In this full length film I am working on there is a female character. I didn't create her on purpose, she came naturally. This means that I do think about these things. They have been maturing and in the process of this full length film I have been able to express them. The main character in this film is a woman and she shows the very particular problems of the jungle, but they could be generalized. People who have read the script have commented that it
is the first time a woman has had such an important role in a Peruvian film.
Q. How did you manage to finance the project?
R. That's the most difficult thing in the world, isn't it? I've been trying to get the money for four years now. We always try co-production; that's the only way to produce long films because of the state of our industry. We tried in Brazil and Venezuela. Finally we managed to arrange a co-production with Cuba, which came about as the result of a debate on "Films and the Poetic Imagination" at the last Film Festival.