{"id":4073,"date":"2026-07-13T08:36:52","date_gmt":"2026-07-13T08:36:52","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=4073"},"modified":"2026-07-13T08:36:52","modified_gmt":"2026-07-13T08:36:52","slug":"hilda-hidalgo-readies-third-fiction-pic-about-sexual-abuse-after-acclaimed-dramas-of-love-and-other-demons-and-violeta-at-last-exclusive","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=4073","title":{"rendered":"Hilda Hidalgo Readies Third Fiction Pic, About Sexual Abuse, After Acclaimed Dramas \u2018Of Love and Other Demons\u2019 and \u2018Violeta at Last\u2019 (EXCLUSIVE)"},"content":{"rendered":"<div>\n<div>\n<!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tCosta Rica\u2019s Hilda Hidalgo, best known for her lauded adaptation of Gabriel Garcia Marquez\u2019s novel \u201cOf Love and Other Demons\u201d and drama \u201cVioleta at Last\u201d is plunging back into fiction filmmaking with \u201cCousins\u201d (\u201cPrimas\u201d), where she teams up once again with \u201cVioleta at Last\u201d producer Emi Kodo, DP Nicol\u00e1s Wong, a Costa Rican <em>Variety<\/em> Below-The-Line Talent to Track last year, and art director Olga Madrigal.<\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=4071\">Korea Box Office: \u2018Moana\u2019 Captures Crown While \u2018The Eyes\u2019 Retains Second Place<\/a><\/p>\n<p>\n\tTaking a page from her past documentaries, Hidalgo will give a hybrid treatment to \u201cCousins\u201d where her young leads will turn cameras on themselves in some scenes.<\/p>\n<p>\n\tThe coming-of-age drama, Hidalgo\u2019s third fiction film, follows two 12-year-old girls who are forced to run away from their homes after a traumatic incident. Trapped in a spiral of escape, complicity and feverish visions, they wield their phone cameras to expose the truth, confront the unnamable and find a way to make themselves heard.<\/p>\n<p>\n\t\u201cEvery film demands its own language, with \u2018Cousins,\u2019 although it\u2019s a scripted fiction film, I want it to be infused with the spirit of a documentary. The screenplay is there, but I\u2019m interested in preserving the unpredictability, intimacy and sense of discovery that documentary filmmaking allows,\u201d Hidalgo told <em>Variety.<\/em><\/p>\n<p>\n\t\u00a0\u201cCinema is, by its very nature, a collective art form. I believe films are strongest when they are created by the entire team. Yet actors often work within a structure that has already been fully defined. With this project, I wanted to push that collaboration further by inviting the young actresses to become co-authors of the film itself. They will use their own mobile phones to shoot part of the story, creating images that belong to them as much as to the film.\u201d<\/p>\n<p>\n\tShe used a similar approach in \u201cTwo Homelands,\u201d her documentary about Cuba where she graduated with a degree in directing from the prestigious International School of Film and Television (EICTV). \u201cBecause filming there was so difficult, we sent high-quality mobile phones to the women at the center of the film and asked them to record moments from their everyday lives. Their footage brought an authenticity and emotional immediacy that no outside camera could have captured.\u201d<\/p>\n<p>\n\t\u201cWith \u2018Cousins,\u2019 we\u2019re exploring a similar approach, though in a very different context. This isn\u2019t a documentary about the actresses\u2019 own lives, but I want them to become collaborators in the filmmaking process. As they build real friendships and share experiences, they\u2019ll be free to film moments on their own \u2013 without the crew being present. Later, during the staged fiction scenes, they\u2019ll continue filming from within the action. In this way, their footage becomes an essential part of the film\u2019s visual language, capturing moments and perspectives that only they can access.\u201d<\/p>\n<p>\n\t\u201cThe film is also about the awakening of desire \u2013 about discovering your own sexuality at an age when those feelings first begin to emerge. That\u2019s what makes it so paradoxical. It\u2019s a time when desire is still fragile and full of wonder, yet it can also be marked by violence and abuse. Those two realities become painfully intertwined,\u201d she continued, adding that Costa Rica, she feels, has been \u201cliving through a pandemic of sexual violence.\u201d<\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=4069\">Natalia Sol\u00f3rzano V\u00e1squez\u2019s \u2018Spells to Revive a Witch,\u2019 About Mythical Fortune Teller Soralla de Persia, Gets Backing from Spain, Uruguay (EXCLUSIVE)<\/a><\/p>\n<p>\n\t\u201cIt\u2019s impossible to ignore. I can hardly think of a family that hasn\u2019t been touched by abuse in some way \u2013 my own extended family, friends, people I know. It\u2019s a reality that feels deeply present, and one I felt compelled to explore.\u201d<\/p>\n<p>\n\t\u201cBut I wanted to tell this story without losing the girls\u2019 perspective. The film is not defined by the violence inflicted on them; it\u2019s shaped by how they experience it, how they make sense of it, and the agency, resilience and rebellion they discover within themselves.\u201d<\/p>\n<p>\n\tShe is holding back on casting until she secures additional funding and co-production partners. The girls are likely to be unknowns or could be tapped from Costa Rica\u2019s growing number of film and acting schools.<\/p>\n<p>\n\t\u201cWhen you\u2019re working with children, I believe it\u2019s essential to have the budget in place before casting. Otherwise, the process can drag on for months or even years. The girls grow older and you risk creating expectations that may never be fulfilled. While it\u2019s always preferable to secure financing before casting a film, in this case it\u2019s absolutely indispensable.\u201d<\/p>\n<p>\n\tDiscovering what her counterparts in Chile and other smaller territories have realized, Hidalgo noted: \u201cFor Costa Rican cinema, international co-production is essential. It\u2019s possible to make a film with local financing alone, but it\u2019s an uphill battle, and it inevitably limits the film\u2019s distribution. Our domestic market is simply too small. A co-production not only makes financing more attainable, it also creates opportunities for the film to travel, reach wider audiences, and build a stronger international life.\u201d<\/p>\n<p>\n\tIn fact, \u201cOf Love and Other Demons,\u201d her well-received adaptation of the novel by Literary Nobel Laureate Gabr\u00edel Garcia M\u00e1rquez, was the first co-production forged between Costa Rica and Colombia. \u201cVioleta at Last\u201d was a co-production with Mexico. <\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=4067\">China Box Office: \u2018Kung Fu Soccer\u2019 Scores Massive $73.6 Million Opening<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Costa Rica\u2019s Hilda Hidalgo is plunging back into fiction filmmaking with \u2018Cousins.\u2019<\/p>\n","protected":false},"author":1,"featured_media":4072,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[3308,3310,3311,3312],"class_list":["post-4073","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-costa-rica-media-market","tag-gabriel-garcia-marquez","tag-hilda-hidalgo","tag-violeta-at-last"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - 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