Based on the acclaimed eponymous novel by Ramiro Pinilla, 'The Blind Ants' is a story of survival in 1930s Biskaia “The Blind Ants” (“Inurri Itsuak”), the third feature by director Igor Legarreta (“All the Moons,” “When You Stop Loving Me”), had it world premiere on Sept. 18 at the 74th San Sebastián International Film Festival. Part of the Zinemira section, which is dedicated to Basque productions, the film is competing for the Irizar Award for Basque Cinema. It will be in Spanish theaters on Oct. 9, distributed by Buena Vista International Spain.
Set in the Basque Country in 1930, the film tells the story of an English ship that is stranded on the shores of Biscay during a violent storm. Holding tons of valuable coal, the local people of Algorta scramble to rescue some of it in order to help them survive a harsh winter. The Jauregui family decides to risk it all and brave the unrelenting storm in order to keep some of the black gold.
Their decision leads to tragic consequences that will change them forever. We achieved this with “Inurri Itsuak”: a Basque-language film with international appeal and high production value that tells a story as deeply rooted in the local context as that of Ramiro Pinilla. Partnering with Playtime for international sales and Buena Vista for distribution in Spain will help the film reach the widest possible audience, Lazona Zinema producer Luis Ferrón told Variety.
It is produced by leading Basque producer Lamia Producciones, Lamia Films, Lazona Zinema, Lazona Producciones, Buendía Estudios Bizkaia, Bruja del Norte AIE, and Sideral Cinema. It is co-produced with Caviar Antwerp. Variety caught director Legarreta before the premiere.
The film is based on Ramiro Pinilla’s book. Was it difficult to adapt it into a narrative film? Igor Legarreta: Adapting a novel is a double-edged sword.
On the one hand, you have all the necessary materials: plot, characters, theme… But on the other hand, you have to transfer a literary universe to a very different world such as cinema. It is a long and complex process where you must try to separate yourself from the initial material, but without ever betraying it. I would like to point out that Pinilla’s novel conveys his love for both literary and cinematographic fiction, especially for the American fiction of the first half of the twentieth century.
Extract — continue reading at the source.
