Celeste: A Comedy Thriller Like No Other
So, brace yourselves folks, because Carmen Machi is stepping into the spotlight as the tax inspector Sara Santano in a series that promises to flip the script on conventional comedy. Created by the masterful Diego San José and directed by Elena Trapé, the new series Celeste on Movistar Plus+ is like a piñata of laughs and thrills — and trust me, it’s not your typical confetti affair!
Now, let’s get down to the nitty-gritty of San José’s work. Known for his glorious comedic collaborations—like the cult classic What a Week and the box-office hit Eight Basque Surnames—he’s finally straying from the beaten path with Celeste. Hold onto your hats, because he’s taken a dive into the unconventional territory of a tax inspector’s life, which, let’s be honest, sounds about as exciting as watching paint dry. But fear not! San José has a knack for turning the mundane into magnificent!
When interviewed about the choice of a tax inspector as the main character, San José said, “I think it is the first time that a series has been made about a tax inspector.” That’s right! A whole series dedicated to someone who scrutinizes your finances! Suddenly, “living on the edge” doesn’t sound so exhilarating. But what a brilliant choice! It’s like saying, “Sure, we could do another sensational story about a pop star, but let’s wage war against the algorithm instead!”
What does Sara Santano actually do? Well, she investigates the glamorous Latin pop star Celeste. But San José is quick to clarify that this isn’t a sensational tale about a pop diva facing financial woes; no, it’s about a regular woman navigating a job everyone secretly despises. Featured alongside Machi is Andrea Bayardo, and together they create a dynamic that makes taxes feel like an Olympic event! Who knew tax collection could evoke such drama?
Of course, what makes this series truly stand out is how it mixes dark humor with a traditional thriller atmosphere. It’s a delicate balancing act, akin to walking a tightrope while juggling flaming tax forms. A curious mix indeed! And honestly, who doesn’t want to see a tax inspector channeling their inner FBI agent?
In the creative process, San José decided to go against the genre’s grain: “I think there is a very nice thing… 15 years ago, genres were very defined.” Now, he revels in the freedom to blur those lines, creating a series with multiple tones. You’ll find yourself laughing one minute and pondering life’s deeper issues the next. Who needs therapy when you have tax inspectors unraveling the complex tapestry of life?
Speaking of life, let’s touch on the character-building aspect within Celeste. San José didn’t want clear-cut heroes or villains; he aims for ambiguity. As he states, “I hate when in fiction they make it clear to me who the bad guy is.” Thus, our tax inspector Sara is relatable and complex. Meanwhile, Celeste, the pop star, isn’t your run-of-the-mill thief. How refreshing! It almost makes you want to shout, “Yay for taxes!” – just kidding, don’t do that.
To sum it all up, Celeste offers an innovative perspective, tackling the theme of success versus failure in a society obsessed with the glitter and glam of fame, all while forcing us to consider what it truly means to contribute to our community through taxes. So, whether you’re a fan of comedy, thrillers, or just need a chuckle as you handle your own tax forms, grab some popcorn and tune into Celeste — where the risks are high, and the jokes are tax-deductible!
Carmen Machi takes on the role of Sara Santano, a determined tax inspector tasked with the challenging investigation of a high-profile Latin pop star named Celeste. This intriguing series, uniquely crafted by Diego San José and brought to life under the direction of Elena Trapé, seeks to explore uncharted narrative territory.
Diego San José has built an impressive reputation as part of a dynamic duo with Borja Cobeaga, creating some of the most beloved comedic content in Spanish television history. Not only are they the minds behind the cult classic What a week, but their writing also includes standout films such as Pagafantas, Don’t control, and the intense political satire Faith of ETA. Their breakthrough moment came with the smash-hit film Eight Basque surnames, a pivotal work that solidified their status and allowed them to gain recognition as screenwriters in their own right.
With a deliberate shift towards personal endeavors, this successful creative partnership evolved over time. This evolution is particularly evident in Vote Juan, Come on John, and another Come on John, a brilliant political satire brought to life by the talented Javier Cámara.
Stepping beyond conventional boundaries, San José embraces a more ambitious vision with Celeste (Movistar Plus+), a series that boldly merges elements of dark humor with a gripping traditional thriller narrative, creating a fresh and innovative storytelling experience this season.
Q: You have always focused your attention on characters from our society who are not usually the typical protagonists of fiction. How did it occur to you to focus on a tax inspector?
Answer: It’s important to note that this is likely the first series ever made centered on a tax inspector. As we began developing this concept, we found no prior references to guide us, making this an unprecedented endeavor. More importantly, I wanted to challenge the norms associated with traditional character archetypes, including typical jobs, ages, and societal standards of beauty. My ultimate goal was to create a series that rebels against the clichés dictated by algorithms, featuring mature characters with ordinary, even drab, professions. In a typical audiovisual narrative, the story would revolve around the glamorous life of a pop star, Celeste, but I was far more interested in illuminating the life of Sara Santano, a tax inspector in a less glamorous setting. Rather than luxurious villas in Miami, I was drawn to the understated essence of everyday life.
Q: How did you find out about the procedure carried out by the Treasury inspectors?
R: The phase of research for this series was intriguingly special for me. I had little understanding of tax issues, which meant I devoted considerable time to obtaining accurate information and insights from professionals to ensure the portrayal was both authentic and respectful. I was also personally interested in understanding the psyche of those in this profession. It’s fascinating how universally disliked Treasury inspectors are; they evoke a unique fear among people across the country. To create realistic portrayals, I spoke with some tax inspectors to glean insights into their feelings and experiences.
Q: And what did they tell you?
R: They often shared their instinct to remain discreet about their profession. For instance, imagine being at a wedding, surrounded by guests, and one of them might harbor tax issues; uncomfortable situations can easily arise. A telling aspect emerged during discussions: statistically, it’s challenging that none among our team had ever met a tax inspector before. This piqued my curiosity because it suggests that in my encounters, I might have crossed paths with tax inspectors without realizing their profession. Surprisingly, their role can be metaphorically akin to that of Robin Hood, as they take from the wealthy to support those in need. However, stripping away the romantic notion reveals a harsh reality where these inspectors are often viewed as thieves. One inspector even shared a revealing comment: people would rather discover a health issue than receive a letter from the tax office.
Q: From the beginning, people associated this series with the Shakira case Was it intentional?
R: While I understand how that could arise as a strategy, I consciously aimed to distance myself from such comparisons. The viewer can expect a different story; the series is not built around sensationalism or tabloid elements. While the series is entitled Celeste, the core narrative actually explores who Celeste is not. The focus centers on Sara Santano, our tax inspector, who embodies an existence far removed from that of the pop star.
Though the synopsis might hint at currents related to the Shakira case, the first episode quickly reveals that our series delves into distinctly different thematic realms. While a show about the Shakira case might have appealed, my interest laid elsewhere—in crafting the story of a woman grappling with her life post-retirement.
Q: On this occasion, your registration has changed. Celeste It is a little more difficult to classify than his previous fictions, and I suppose that also had to do with that desire to get away from algorithms.
R: A delightful transformation is occurring among screenwriters today. A decade and a half ago, the landscape was strictly defined by genre; productions required you to be explicit about the tone. Comedies were expected to remain light-hearted, while dramas were relegated to serious tones. Now, the creative landscape offers us a freedom that I relish, allowing blending across genres. Celeste exemplifies this playful experimentation, oscillating between humor and profound emotional currents without losing its core integrity.
Q: And how would you define the tone of Celeste?
R: Tone, in my experience, remains an elusive yet vital aspect of storytelling. It can dramatically shape a project’s identity. With Celeste, the most ambitious directive we pursued centered around establishing a singular tone. During production, I underscored the necessity for the performances to feel serious; I wanted everyone to approach their roles with the integrity one would expect from a high-stakes investigation, such as those conducted by the FBI. Our narrative does not adhere strictly to comedy or drama; instead, it masterfully weaves both elements to reflect the complex nature of human experience.
Q: It seems as if you have broken free from the restraints after the phenomenon of Eight Basque surnames.
R: The release of Eight Basque surnames back in 2014, which eventually became the highest-grossing film in Spain, presented two avenues for my career. One might lead to economic safety, creating sequels, and replicating success through a familiar comedic formula. I chose the other route—one of exploration and complexity. I was unmotivated by repetition, yearning instead to embrace narratives that resonate with the realities of life as it unfolds. This has also been formative as I age; my interests have shifted from the frivolous to engaging with deeper, more nuanced societal topics —as evident in Celeste and its discourse on public attitudes and ideology.
Q: In the case of ideologies, we are experiencing a maximum upheaval; how do you see that as a creator?
R: The need for stories that challenge prevailing ideologies is paramount now more than ever. Through Celeste, we delve into themes about the importance of a robust state, stressing that being an active participant in our society demands more than mere verbal affirmation; it necessitates genuine action, such as fulfilling our tax obligations. Contradictions abound: many who profess progressive values may attempt to evade their taxes at every opportunity, while those who claim national allegiance sometimes sidestep their fiscal responsibilities. Taxes are an inescapable facet of our existence; yet, curiously, the concept and significance of taxation are never emphasized in educational settings, leading many to view tax obligations as an infringement rather than a civic duty that supports vital public services.
Q: In Celeste There are no heroes or villains. Tell me about character building.
R: I find it frustrating when narratives dictate clear distinctions between heroes and villains. This is particularly true in social narratives where characters should inspire critical thought in the audience rather than presenting them with pre-packaged moral conclusions. In Celeste, my goal was to ensure that Sara Santano, our tax inspector, exhibits flaws that generate genuine conflict within viewers. I didn’t want her to embody a perfect heroine but rather a complex character with moral ambiguities. Equally important, I sought to give every character a perspective, even if their views diverge from my own, ensuring a more layered narrative experience.
Q: There is also a dichotomy between the culture of success and failure, of colored lives and gray ones. How do you think all of this is integrated into our society?
R: The contrasting narratives of aspiration and everyday existence permeate our society deeply, often since childhood when we idolize celebrities and long for lives vastly different from our own. However, the facade of celebrity often crumbles, revealing loneliness and emotional turmoil beneath. This contrast between vibrant fame and the muted struggles of everyday life deserves exploration; it is crucial to acknowledge that the allure of celebrity can foster unrealistic aspirations, as we come to understand that what appears glamorous may come at the cost of true companionship and fulfillment. Highlighting these complexities offers valuable discourse on our societal perceptions surrounding fame and success.
Q: What has it been like working with you again? Carmen Machi? Furthermore, in a register so different from the one we had seen so far.
R: During the filming of Eight Basque surnames, Carmen was already a figure I regarded with awe, a luminary in our generation of actors. She possesses an extraordinary range, effortlessly moving between roles that garner widespread acclaim, as seen in her portrayal on Aida, while also captivating theater audiences with intensely dramatic performances. I wanted to develop a project that showcased this duality, presenting moments where she could seamlessly transition from comedic relief to the depths of anxiety without interruption or compromise.
– How does the exploration of morality in *Celeste* challenge traditional notions of right and wrong, and what implications does this have for audiences grappling with ethical dilemmas in their own lives?
Ered and multifaceted exploration of morality. This approach allows the audience to engage with the characters on a deeper level, reflecting the complexities of real-life situations where individuals often find themselves navigating shades of gray rather than clear right and wrong.
Q: How do you see the impact of Celeste on audiences, especially considering its unique premise and approach?
R: I genuinely hope that audiences walk away from Celeste with a renewed curiosity about the lives of those who often occupy the periphery of our societal narratives. By focusing on a tax inspector, we provide a lens through which to examine broader societal themes, from ethical dilemmas to civic responsibilities. The underlying ambition is to provoke thought and discussion, encouraging viewers to reconsider how they perceive authority figures and their roles in supporting community welfare. It’s crucial that this series ignites a dialogue about the importance of our contributions to society, fiscal or otherwise, and how our individual actions culminate in collective well-being.
Q: what do you envision for the future of storytelling in your career?
R: I’m excited about the potential for continued experimentation in storytelling. As creators, we have the privilege and responsibility to address complex issues and present them in innovative ways. I hope to further push the boundaries of genre while continuing to highlight unconventional narratives that reflect our societal realities. My aim is to remain committed to authenticity in storytelling, celebrating the nuances of human experiences with integrity and insight. Ultimately, I aspire to create work that resonates long after the credits roll, empowering viewers to think critically about the world around them.
