Daniel Monzón and ‘The laws of the border’ in ‘El TolChou’: “As a child I saw the quinquis of my neighborhood with fear and fascination”

The director comes to the Twitch channel ElStream to talk about his new project, an adaptation of the novel by Javier Cercas. This Friday in theaters!

Daniel Monzón began his career in the world of cinema without going behind the camera. He did it as a journalist and critic, but from a young age he knew that he wanted to direct. For this reason, when it was his turn to interview a director, he tried to extract everything he could from him. “More than asking them as a journalist, it was how to get their secrets out of them”, says Monzón in the program El TolChou of the canal de Twitch ElStream. Now, after six films as a director, Monzón premieres this Friday, October 8th, his latest project: The laws of the border.

“I wanted to recover that freshness of movies played by criminals”The director comments on the film and the quinqui genre, a type of cinema in which this film is circumscribed and which was very popular in the 70s and 80s. They were social films that reflected the historical moment that Spain was experiencing.

The laws of the border, starring Marcos Ruiz, Chechu Salgado and Begoña Vargas, is an adaptation of the homonymous novel by Javier Cercas. The story, set in the 1970s, follows Ignacio, a middle-class young man who joins the criminal gang of El Zarco when falling in love with Tere. All this against the backdrop of the Transition in the background.

Monzón also remembers that he had contact with quinquis in his neighborhood. “I was a child in 1978, I was middle class but I lived near the wastelands where the quinquis lived, with whom I crossed with certain frequency,” he says.

They were people whom I saw with a mixture of fear and fascination because they meant something that every adolescent wants: a united rock, that you saw them live in a freer way and that exuded an air of that adventure than you, who observed the rules. , you were as eager “. Monzón has even recognized that those quinquis came to rob him with a knife on some occasion.


Behind that “quinqui cinema” label that his new film carries – which he feels is closer to Cell 211 than other titles of his filmography- for Monzón The laws of the border “It’s a teenage love story”. “Those kinds of stories that I have always loved,” he adds.

Although the film is set in 1978, the director believes that it is a film that connects with those who lived through that time, but also with today’s youth. “For the people who lived through that time it is a trip to their memories, to their youth […] Nowadays young people are very close to the film, “he explains. “Talk a little about that need for rebellion that adolescence has”.

When he got down to business with The laws of the border, Monzón was very clear that the leading trio were “the axis on which the entire cast had to settle.” That’s why he spent a lot of time looking for the perfect Ignacio, Zarco and Tere. “I have a clue, which is that when I feel a chill I say: ‘This is it,” he reveals. And when Monzón saw the joint test between Ruiz, Vargas and Salgado, this happened: “It’s not that my hair stood on end, it’s that I got like cats. I said, ‘This is it.’.

For the soundtrack, another of the strengths of The laws of the border, Monzón had the group Derby Motoreta’s Burrito Kachimba. “The film had that quinquis undertone and I spoke with the best band of the moment, which are beasts that make that psychedelic progressive ‘rock’ between Triana, Led Zeppelin …”, he comments. Although at first he only asked them for a song, he finally proposed to take charge of the soundtrack. “We had such a connection that I said to them: ‘Do you dare with the soundtrack?” To give you a hint, Monzón decided to read the script to them with “the energy and rhythm he had to have for them to create the music.” “It was a long but exciting process”, Add.

Will suppose The laws of the border the return of the cinema who? Monzón is not very clear about it. “I don’t know. The quinqui cinema was interpreted by the quinquis themselves and they are all dead.”