Cinema Scholars interviews Cecilia Suárez, star of the new horror/comedy film The Passenger. Dark Star Pictures and Bloody Disgusting are releasing The Passenger in theaters on June 3, 2022, and On Demand and DVD on June 28, 2022.
Introduction
With a veritable embarrassment of horror riches out there, it’s sometimes difficult to determine which title is worth the precious two-hour time slot. While many pass the test with admirable offerings, there’s always an emerging gem whose virtues beg to be screamed from rooftops. The new Spanish spine-tingler The Passenger (La Pasajera) from directing duo Raúl Cerezo and Fernando González Gómez firmly takes its place in the latter category.
Is it the simple concept executed with amusing detail? Is it the group of endearing characters that are relatable in their unique way? Or is it the horrifying practical effects that bring it all home? Whatever the formula might be, Cerezo and Gómez have certainly found the perfect combination of thrills and feels to create a beautifully balanced picture.
Synopsis
The Passenger tells the story of a group of people sharing a ride to a small town in the mountains of Spain. Only this isn’t the typical rideshare. Former bullfighter and Jack-of-all-trades, Blasco (Ramiro Bias), transports his clients in “Nessa,” his beloved aging van, modified through the years to accommodate his various occupations. When Blasco and his patrons help an injured woman along their route, the stranger sets off a terrifying chain of events that find the passengers fighting for their life.
Amid all the mayhem, however, The Passenger ends up being a delightful character study about family angst, the compassion of strangers, and honor among deviants. Plus a healthy dose of humor and bull fighting-inspired elements throughout.
Actress Cecilia Suarez is no stranger to drama and comedy as evidenced throughout her impressive filmography. However, The Passenger marks the performer’s first foray into horror as Mariela, one of the three characters who share the ill-fated ride. Cinema Scholars recently chatted with Suárez about her first foray into the genre, tackling a role with such a huge range, and working with a directing duo.
Interview
Rebecca Elliott:
Hi, Cecilia. Thank you so much for joining me today.
Cecilia Suárez:
Oh, thank you, Rebecca, my pleasure.
Elliott:
Just let me tell you how much I loved The Passenger. It was so fun, but also freaky. Which is what you want with a horror/comedy. Your filmography is, I mean, quite epic and it’s packed with a ton of comedy and drama and thrillers and true crime… but I don’t see a whole lot of horror in your filmography.
Suárez:
None.
Elliott:
Yeah?
Suárez:
None, Rebecca.
Elliott:
What drew you to The Passenger and this role?
Suárez:
That’s an interesting question. Well, the script. But I was very reticent in the beginning to do horror. I never watch horror, it freaks me out. It makes me very uncomfortable, so I’m not a horror type of audience. And so therefore I was like, “Oh, horror?!” And my agent here in Spain said, “I think you need to read this one,” because I hadn’t read it when I said, “Oh.” And so I read it.
I thought it was a very well-written script and that it was interesting in many ways, more than one way. To begin with, it had characters that you could work with. Like actual characters, not just like this person running away or fleeing from this monster. But there was actually a story there and a story that had to do with interconnection. It had to do with gender roles. It had to do with people in search of redemption, of forgiveness. There was a lot more to it than what I would’ve thought.
And so, in talking with her, she was very insistent, to be honest. She said, “I think it’s an interesting script for you to move outside of your comfort zone and to try something that is unsettling.” When she said that, it was just such a trigger. I was like, “Well, yeah, maybe she’s right and this is a good script,” which for me is fundamental. So that’s how I got into this project.
Elliott:
Without getting into spoilers too much…in your role in The Passenger, you actually get to have dual roles, so to speak. You have one part of your character that’s very buttoned up and then segues into sort of a monster character. Can you talk about tackling two very different kinds of roles? One that’s so buttoned up and then the other that becomes this very physical performance.
Suárez:
Well, it’s interesting. That was one of the things that interested me most, the fact that how do you do that transition from playing the kind of characters that I’m used to playing and then transition into this other thing that is so far away from that. And it’s difficult. I’m just going to say this. Very challenging, especially for me the very first time I try this genre out. I was always so, how can I say, so not sure. Is this big enough? Small enough? Does this look like it’s really happening? Is this really in the center of my concentration, of my belief?
And it’s tough. It is tough not only because it’s such a big leap, but also because there’s so much more, you have to pay attention to when doing this genre. It’s not just the camera. I mean, we, actors are always concentrating on a bunch of things, right? There are so many avenues at the same time. But on top of all the avenues that we’re used to having to work with, then there’s the prosthetics. And then the prosthetic moves. Then they pour something gooey on you. Next, there’s a person coming at you in the shape of a monster. Then you have to make sure that it goes through your ear.
There’s just so much that is added on top of what we are used to. All of the actors who do this on a regular basis have all my respect because this is tough. Then you’re just hoping that in the end, it works and that it tells the story and that people who enjoy this genre have a good time.
Elliott:
Oh yeah, very enjoyable. I am one of those people who enjoy this genre, and I approve. But I always do wonder about the performers and the constraints. Did you have any limitations as far as like makeup and prosthetics go, or are you just like, “No, cover me in foam latex.” Do you have to set limits or were you pretty open to whatever, as far as makeup and effects go?
Suárez:
No. I mean, I asked them, what do you want me to have on and they explained. In previous experiences in other films I had had reactions to latex, so I was a little scared.
Elliott:
Whoa.
Suárez:
Yeah. I had full-body reactions that had to be dealt with. Doctors and baths to calm the skin. It was big. And so I was like, “Oh no, this is latex.” But the artists- because that’s what they are- who do special effects on this are so amazing. This team was so amazing, so professional, so careful, so delicate, so generous, like truly. I know in interviews we speak nice things of the team that we worked with. But this is an outstanding team who does special effects. They were so careful, and so sweet, and so nice, so considerate. And they explained to me, “Well, latex has changed quite a bit. It’s now made so that your skin doesn’t have that kind of reaction. We’ll do tests before we go into that.” But other than that, no, no limit.
Elliott:
There’s sort of a fifth character in this film, the van that you guys are riding in. And it mainly all takes place in the confines of “Nessa,” the van. Can you talk about being confined and having this unspoken fifth character and how that influenced the dynamics?
Suárez:
That was interesting. I’m glad you mentioned it because, yeah, we were inside that thing for most of it, yeah, for most of it. And this was a make-believe van, this is not an actual van. It’s bigger so that we can work it out. But the thing about this was that once the back door was closed, you were locked in there. I don’t know if you’ve talked to anyone from the film, but you were locked.
Elliott:
No, that’s crazy.
Suárez:
And it was strange. But I have to say, it was a little bit…It felt unsettling because you’re inside this thing that moves, inside this structure that moves to make believe that it’s a car. And then you’re locked. If you want to get out, they have to open it from the outside.
Elliott:
Wow.
Suárez:
So it created a feeling, I don’t know how to explain it, but it was unsettling at times to be locked in there. And I think it added to the connection with the other actors, with the feeling of truly traveling with them. And I think it helped. It was weird. It was strange, but I think it had an effect, an emotional effect on what we were playing.
Elliott:
I bet it did! Okay. I have time for one more question. What was it like working with two directors versus one? How does that work?
Suárez:
Yeah, it was interesting. I think they did a pretty good job at knowing which one of them was going to be much more in contact with us, and that was Fernando. He was usually the one who would speak with us. And Raul would sometimes come talk to us. But they would speak amongst themselves and then Fernando would convey the idea.
Elliott:
Interesting.
Suárez:
Yeah, I thought that was very smart of them. I thought it made it clear.
Elliott:
Right. More singular.
Suárez:
And then, if we wanted to ask something or wanted to discuss something, they were always open to do so, so that also was helpful. But I thought they figured it out in a very natural and in a very smart way.
Elliott:
Thank you so much for taking the time to talk about this film. I really enjoyed it. Good luck with the rest of your day doing the rest of these interviews.
Suárez:
Oh, thank you so much. I appreciate your time. And thank you, thank you so much.
Dark Star Pictures and Bloody Disgusting are releasing The Passenger in theaters on June 3, 2022 and On Demand and DVD on June 28, 2022.
