“Don’t scream at me,” Tilda Swinton’s kooky art-world outcast jabs at [insert any character from the film here] in Julio Torres’ batshit debut feature Problemista. One of many quotes in the subversive comedy that deserve to become a regular go-to in the vernacular of queers, Problemista is the perfect vehicle for the Saturday Night Live alum’s signature brand of finding absurdity and surrealism in the mundane. To the Brits reading this who may not understand why the aforementioned jab made this writer, and many others, cackle, then good news alert: Problemista is now out in the UK.
Synopsis incoming: Immigrant toy-maker Alejandro (Julio) reluctantly begins working for Elizabeth (Tilda), a volatile-tempered art critic (and every employer’s boss from hell) so he can avoid deportation and keep living the American Dream. Also starring RZA, Isabella Rossellini, Catalina Saavedra and James Scully, Problemista was met with universal acclaim.
The following quote from Julio is, but also really isn’t, extremely relevant: “Last night, I had this dream of a long cylindrical handbag. And I remember being delighted in the dream that nothing could fit in the handbag because it was so narrow. That made me laugh.”
Interview with Julio Torres below.
Julio, what is it like to share a Glastonbury experience with Tilda Swinton?
She’s the perfect guide, just strolling the grounds. She knows where to go. She knows what’s interesting. You just let her show you the kingdom.
Were there any Problemista fans in attendance? Were either of you approached?
No. We had one screening, but I don’t believe the film had been released in the UK yet, so no. Also, I would say everyone seemed happy and joyful, but I didn’t observe any out of control behaviour. It was controlled madness, but no one was belligerent. Maybe I was there too early, and then it got that way?
I would’ve expected belligerince at a UK festival, or at least one person coming up to you to say, “Don’t scream at me!”
They do! Sometimes they do!
I’ve already said it to someone today.
[Line cuts out.]
Julio, hello? Is you there?
Don’t scream at me.
[Screams with joy]
I don’t know if this is relevant, but I just got a text message from my boyfriend that says, ‘Wait, that’s Sam. Tell him I say hi.’ Do you know James Scully?
I do know James Scully. Say hi to James Scully.
Okay, I will.
What is happening? Where is he? How did James Scully sense my presence?
My understanding is that he’s in bed. I don’t know how he knows. What did you speak to him for? Was it Fire Island?
It was. Now he’s the topic of conversation, I have to say that I loved him in this privileged dickhead role. What was it like to play opposite your boyfriend, who I know is not a privileged dickhead?
He is very much not a dickhead. I love working with people that I love, and he is an example. Friends that I have known for many years populate the movie and I am a true believer in creativity as a love language, and that’s when I’m happiest. I’m not the kind of person who compartmentalises like, ‘These are my friends over here and this is my work over here.’ I work in very organic and playful ways, and it only makes sense that he is part of my creative family.
You’ve been doing press for Problemista for a year now, so how does it feel that it’s now out worldwide?
I’m never at a one or a 10, I’m always at a five, which is a good thing. The water always tends to be calm.
Are there occasions where you’re at a three or an eight?
Yes.
Can you remember the last time you were an eight?
Maybe… Yes. I don’t know if it was the last time, but anytime when I’m actually creating something, when I’m on set creating something. That’s when I approach the high numbers.
And what about the three, or is that too personal?
No, but I can give you a professional three. When I am in the logistics of film rollout, because it feels like, ‘Well, I enjoy making the cake. I loved making the cake. Now I have to package it and drive to the supermarket to sell it?’ But the whole point is for people to eat the cake, so that’s important.
This film made me cackle a lot, so I want to know what makes you cackle? What tickles Julio Torres’ funny bone?
Absurdity. Like, when something makes no sense or something is so ridiculous or preposterous. That brings joy to me. Last night, I had this dream of a long cylindrical handbag. And I remember being delighted in the dream that nothing could fit in the handbag because it was so narrow. That made me laugh.
Does the future hold a live-action appearance for the handbag?
Oh, the handbag. The handbag will certainly make an appearance in some way.
What role would James Scully play?
Perhaps he’s selling it?
Is he going to be a dickhead?
No, quite nice. I think he’s due to be nice.
It’s time I actually ask you a question about the film. Problemista is simultaneously an incredibly queer film without being, ‘Look! It’s queer!’ Was that a conscious decision?
It was not a conscious decision. No, I think it would have been quite inorganic and put upon to take that road. I just made a film that feels very honest to me, and that is the fabric of this story. That is but one of many threads. And, you know, perhaps it would have been a more accessible, more sellable film if it had leaned on that, but this is what felt real.
You’ve previously said that your creations intertwine, so were you compelled to cast some previous collaborators? For example, Jessica?
I had to cut Krisha out.
Oh Julio, no… Is that true?
That is actually true. She was on screen with Craigslist. We ended up not using that shot and I’m devastated.
How do we even see deleted scenes these days? How do we get that out into the world?
I don’t know. I know A24 at one point asked me to approve some deleted scenes, but I don’t know where those are going to go because there’s no DVDs anymore. I don’t know where they go. I don’t know where they live.
Any more deleted scenes you’re able to share?
There are certainly scenes with Catalina, who plays the mother. There is…. Oh my god, there is one thing that I really, really, really wanted in the film, but I ended up agreeing that it just felt like it didn’t belong in it or like it was too much. It was basically just a scene where Alejandro is trying to buy a phone charger because this phone is out of battery. I really love this scene but for some reason everyone was like, ‘Why? Why do we need this?’
I assume that had a surreal twist too?
It escalated and it became very high stakes and high anxiety.
To me, your humour feels quite British, so I was wondering if the comedy in this film has translated differently according to location?
I know that people seem to really enjoy it in Denmark. Maybe people latch onto different parts of it in different locations, that will be very interesting to find out. I am certainly very curious. I would love to hear that the film is being embraced in parts of the world that I hadn’t imagined.
Tilda is, obviously, an icon. Sharing this experience with her must’ve been very bad and not enjoyable at all?
She is the perfect ally for the film. She is the perfect partner for this journey, someone who is so secure, lovely, generous and fun to be around. You feel in good hands. I didn’t know her before the film, but I can’t wait to see her again. It just feels like I have made a friend.
Have you thought about film number two yet, and what that looks like?
I have thought about it, and I really I don’t quite have an answer to that question yet. But, I hope to take the rest of the year to write it. I think there will probably be a lot of familiar faces. I am quite eager to step away from my personhood and my immediate biography and make something that still is very me, but not in an obvious way. If that makes sense. Like, I certainly won’t be the protagonist.
Is it easier for you to play a character, or more challenging?
I really enjoyed my work on Saturday Night Live, where I really delved into different kinds of people, and I was nowhere to be seen on screen and that felt easy. So I’m curious about returning to a mode of working like that.
Problemista is now out in the UK.
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