My favourite line in her work comes in La Musica a play that takes the basic situation of Private Lives divorced couple meet in

My favourite line in her work comes in La Musica, a play that takes the basic situation of Private Lives (divorced couple meet in hotel and find their old passion rekindled) and turns it into an orgy of navel-gazing. The man rings up his current partner and announces with a totally straight face, “We’re in the hotel lounge. We’re both in despair.”

The lack of any sense of proportion (or of the ridiculous) is manifest once again in Suzanna Andler, revived now by Lindy Davies at Chichester. In a wintry St Tropez, the eponymous heroine is discovered agonising over whether to rent an expensive villa for the summer. Given that her husband happens to be a millionaire, this dithering might in itself seem a bit of a luxury. But as she tarries in the empty house, it emerges that there is far more hanging on this decision than the question of where to spend August.
This 1968 play is the study of a woman struggling to take charge of her life and a portrait of a very strange marriage. You have to be aware of new music as it comes out because it changes, and it makes something change inside you.

It helps to make things change in my mind.” The man whose intellect is as restless as anyone in cinema pauses, completing his thought. “It helps me change every time I make a film”n`Tierra’ goes on release in the UK on 8 August. All that wallowing in well-heeled misery, all that deadly seriousness about “l’amour” They order things differently in Haslemere. “When I make a movie, I’m addressing the teenager I’ve still got inside of me. I want to know if he approves or disapproves of everything I do It has to do with the feelings that a teenager shows His mind isn’t finished That’s what interests me most.” He changes tack again “It’s why pop music is still important to me. He was making short films in his teens, and worked as a film critic before Vacas allowed him to fully explore the medium.

Watching his films, it seems as if there’s something almost transcendent in the process.”It’s like a journey,” he agrees. “When I finish a movie, when I come back, I’ve lost something I’ve left it behind. It leaves a hole, a void, which I have to fill with another film.” Angel talks in the same terms about coming back from the dead. “I don’t feel like the same person who made Vacas or The Red Squirrel or Tierra any more,” Medem continues, “because I’m already working on a new film.” What did he leave behind in Tierra? “I left behind something I don’t like in myself,” he says, then pauses. “Angel has one of the fears that I’m obsessed with, that there’s nothing after death, just a void. Sometimes when you talk about your fears, or when you make a film about them, you can make them happen Sometimes you can feel liberated.