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Bad Education - Director's statement



Compiled by: Jack Foley

I HAD to make Bad Education. I had to get it out of my system before it became an obsession.

I had worked repeatedly on the script for over ten years and I could have gone on like that for another decade.

Because of the amount of possible combinations, the story of Bad Education was only finished once the film had been shot, edited and mixed.

Bad Education is a very intimate film, but not exactly autobiographical. I meant that I’m not recounting my life at school or all that I lived and learned during the first years of the ‘movida’; although those are the two periods in which the story is set (1964 and 1980, with an interval in 1977).

Of course, my memories were important when it came to writing the script. After all, I lived in the settings and in the periods in which it takes place.

Bad Education is not a settling of scores with the priests who ‘bad-educated’ me, or with the clergy in general.

If I had needed to take revenge, I wouldn’t have waited 40 years to do so. The church doesn’t interest me, not even as an adversary.

Nor is the film a reflection on the ‘movida’ in Madrid at the start of the 80s, even though a large part of it is set in the Madrid of that time. What interests me about that historic moment in the explosion of freedom that Spain was experiencing, as opposed to the obscurantism and repression of the 60s.

The early 80s are, therefore, the ideal setting for the protagonists, now adults, to be masters of their destinies, their bodies and their desires.

The film is not a comedy, although there is humour (Javier Càmara’s character), nor is it a children’s musical, although there are children singing. It is a ‘film noir’, or at least that is how I like to think of it.

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