Thursday Till Sunday
De jueves a domingo
A remarkably assured film that takes place over the course of a long car journey from Santiago to a quiet vacation spot up north.
Even if a screening is sold out, tickets are often available 30 minutes before the start of the film at the box office at each venue.
- Director-Screenwriter Dominga Sotomayor
- Producer Benjamín Doménech, Gregorio González
- With Santi Ahumada, Emiliano Freifeld, Francisco Pérez-Bannen
- Chile-Netherlands 2012
- 94 mins
- UK distribution Day for Night
Chilean writer-director Dominga Sotomayor’s remarkably assured debut takes place over the course of a long car journey from Santiago to a quiet vacation spot up north. The focus is on ten-year-old Lucia: as stunning desert landscapes glide past and her little brother plays beside her, she notices more and more strains between her parents in the front seat. Featuring a performance of watchful intelligence and quiet vulnerability from Santi Ahumada as Lucia, this is a subtle, poignant, and faultlessly played portrait of a marital break from the child’s point of view. Beautifully shot by Bárbara Álvarez (Lucrecia Martel’s regular DoP), Thursday Till Sunday is a deeply moving and delicately crafted movie that marks out the young Sotomayor as a major talent.
Some years ago, I found some photographs from a family trip. In one of them, two children travelled on top of the car, taking a grip against the wind; and I thought the situation was both amazing and dangerous. The children were my cousin and myself; my parents drove inside. I felt interested in the idea of these two separate trips within the same trip. The polarity of the children in one dimension and the parents inside, closed in. I began to write the screenplay with this image as a starting point. This is a project that stems out of memories of childhood trips, the hours of confinement across the roads of Chile. Given the geography, the long thin shape of the country, we would always go either south or north, and the trip always became a long route, regardless where we were to going to arrive. The screenplay grows out of that sum of real and fictitious memories, and above all, from the feeling of being a kid and be always left out of frame, watching incomplete images, as one does from the backseat of a car. I feel that a lot of what’s in the film was already present in the screenplay. I wrote thinking in the shots, in the sound, carefully describing random moments, what is between the significant moments, scenes that don't seem to add or sum up in what could be a last family trip. Afterwards, that version of the screenplay was completed in the 2010 Cinéfondation Résidence, from where I left with a final draft. I then went back to Chile and we began production. I believe that the development process of the film was constructive, I attended workshops and co-production meetings in order to get the finance to shoot. When the moment came to shoot the film, I felt that the meaning and the emotion that I wanted to drive the film to were very clear in my head, and that was key, taking into account the complexity of a shooting almost fully done inside a car, travelling with the whole crew and with children in every scene.
Born in Santiago in 1985, she finished her filmmaking studies in 2007 and created the production company Cinestacion. She directed several award-winning short films before her first feature project, Thursday Till Sunday, was selected for development in the Cannes Cinéfondation Résidence in 2010 and attracted support from the Hubert Bals Fund, premiering at Rotterdam in 2012. Her second feature, Late to Die Young, is being developed through the Jerusalem International Film Lab and Binger Filmlab programmes, with support from the prestigious Sundance Institute/Mahindra Global Filmmaking Award.
2005 Cessna [s]
2007 Noviembre (November) [s]; Debajo (Below) [s]
2008 La montaña (The Mountain) [s]
2009 Videojuega (Videogame) [s]
2012 De jueves a domingo (Thursday Till Sunday)
Read the Time Out review.