13 Sins to Confess with Caye Casas
1
Thanks so much for taking the time for this interview, especially at such a busy time. Can you tell us a bit about Caye? Where does your passion for film originate, how did it begin, and what inspired your commitment to the seventh art?
The school wasn't my thing. I wasn't a good student - I was also eventually expelled from it - and I never really enjoyed studying in an imposition way. I wanted to be a self-taught learner and create and tell my stories. I started drawing comics but soon, I realised my true passion was cinema. I watched thousands of films and attended all the premieres I could, which inspired me to start making short films, produced by me and often casting my mother or friends. The joy I felt while creating these projects made me realize that my life purpose was filmmaking.
2
Let's begin with "La Mesita del Comedor." Since its launch, it has generated a lot of interest. Did you anticipate this level of excitement? How do you manage all this attention, both personally and artistically?
"The Coffee Table" is an independent, low-budget film shot in only ten days. Typically, films like these struggle to reach a large audience due to limited marketing resources. However, we believed in our powerful story and knew that if people saw it, word would spread. The beginning was tough. Key figures in the Spanish film industry even told me that the film "shouldn't exist." But everything changed when we started winning festival awards, making it the most-awarded genre film of the year. The turning point came when Stephen King publicly recommended it, significantly boosting its visibility. Our dream became a reality - many people now want to meet me, interview me, and learn about me, and my next projects. This is a very busy moment for me, but at the same time, I'm on cloud nine. I believe the entire team deserves this success.
3
Regarding the movie, the initial premise doesn't give away what will happen there. The trailer and reviews hint at one direction, but the plot takes an unexpected turn. This approach is highly innovative and effective in sparking curiosity and leaving the audience in disbelief about what they've just witnessed. Was this choice intentional, or was it necessary to avoid spoilers?
We wanted to show as little as possible. I think the less people know about the film, the more they will enjoy it. In the trailer, you don't get for sure what it's about. The title is also very misleading. It's a harmless title that, hides a very mean and cruel story. We wanted to surprise the audience and leave them speechless while and after the screening.
4
The main story is intertwined with an equally unsettling subplot involving a little girl. How does this story relate to the primary narrative?
The situation with the girl is at its extreme point, and experiencing such a situation is horrible. However, we wanted to convey that when things go wrong, they can always get worse, which is exactly what happened. You had a big problem with your 13-year-old neighbour. However, an even worse issue emerged, overshadowing the first one. The point is that when something goes wrong, you can expect it can always get worse.
5
Why do European movies struggle with distribution on our continent while they gain recognition and distribution more quickly in the United States?
There are many reasons for this, but in my case, it's about money. I produce low-cost, high-risk films without famous actors or major production companies behind me. The cinema industry is complicated, and small films like mine face enormous challenges, especially in Spain, where distribution is even more difficult than in other countries.
6
The film masterfully weaves a complex psychological game, skillfully maintaining the viewer's tension while blending horror elements with dark comedy. It's a refined feature film designed to challenge audiences, much like recent titles such as 'When Evil Lurks' and 'Speak No Evil.' What draws you to this genre, and what emotions do you aim to evoke in viewers with your films?
As a viewer and a director, I aim to evoke and convey powerful emotions. When I watch a horror film, I want to be deeply unsettled and disturbed; I seek an intense and memorable experience. It's the essence of what I strive to achieve with my movies - to craft stories that provide audiences with a unique and unforgettable confront. "La Mesita del Comedor" may elicit varied reactions, but one thing is for sure: it will leave a lasting trauma.
7
What are the key differences between making a short film and a feature film, specifically regarding scriptwriting and filmmaking?
The main difference is the story's length and the budget required to shoot it. Otherwise, everything else is essentially the same for me.
8
In contemporary horror cinema, a prominent trend focuses on portraying the malaise and abuses within the domestic sphere. This theme was evident in your previous film "Matar a Dios" as well as in the short films "RIP" and "Nada S.A." Do you believe there's a social need to address issues within the family environment as a primary cause of individual distress?
I'm not sure, but in my case, I prefer to depict everyday horror without artifice, adding a philosophical angle and my unique brand of dark humour. It's become my trademark. I'd like to believe I have a distinct storytelling style rooted in my fear of death and the passage of time. Family stories, in particular, are rich with potential because they are relatable to anyone.
9
In both horror and non-horror films, children are frequently portrayed in two distinct roles: victims and perpetrators. Recently, the depiction of children as harbingers of evil has gained popularity. This imagery is unsettling but also reflects a certain truth. What are your thoughts on this trend?
We have all been children, a unique and often innocent and joyful time. However, it can also have darker aspects. When the main character is a child, whether as a victim or a perpetrator, it's easy to create an unsettling narrative. In my work, I like to push boundaries and break taboos, as I did in my first two films, "Matar a Dios" and "The Coffee Table."
***SPOILER ALERT***
In these films, I portray the tragic deaths of two babies, a deliberate choice meant to deeply unsettle the audience.
10
Your works have a fairy-tale style, with a dark, psychological, and macabre vibe that I find captivating. An intriguing blend of beauty and eeriness crafts enigmatic and complex stories. What are your artistic inspirations?
I have many influences, but one stands out: my affinity for black humour and political incorrectness. I enjoy probing the psychology of human beings and crafting stories that provoke questions. I aim to create narratives I'd love to see as a viewer, each containing autobiographical elements and an ever-present theme of death.
11
Your films often feature a sense of human error that turns into tragedy, leading to catastrophic consequences. How important is it for you to include comic elements in your films? Do you use them to play cruelly with the viewer or to lighten the overall tone?
As mentioned above, I love black humour - in real life as in cinema - It comes out naturally while I'm writing, and I can't help but include black comedy elements in everything I do. If you go for a beer with me, you'll see it's my personality. I can't resist making jokes about everything, even the most macabre topics.
12
The spectacle of violence is everywhere on TV, news, and social media, captivating and repelling us simultaneously. As horror fans, we embrace this emotional discomfort, using it as a springboard for reflection. What do you believe distinguishes those who seek horror in real life from those who prefer it through the cinematic lens?
I often describe myself as more of a spectator than a director. As a keen observer, I can't help but notice that our world seems to be spiralling downward. Society is deeply troubled, consumed by mobile phones and social networks, and ruled by unscrupulous leaders. We permit this domination because we've become a passive, unresponsive society. Authenticity is fading, mediocrity is rising, and it's hard to be optimistic. However, this bleak perspective provides rich inspiration for horror films.
13
Could you share your plans with us? What can we look forward to following the massive global success of "La Mesita del Comedor"?
I'm currently juggling four different projects, each requiring significantly more funding than La Mesita. I'm actively seeking financial backing for at least one of them. These projects have the potential to be quite disturbing and terrifying, and I’m eager to bring them to life.
Here's below you will find the links where you can find "Caye Casas" on Instagram:
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