I have read great scripts that when they reach the screen, by some decision, they change the character’s profile, their skin color, their context
L&S. In another area, we also have streaming platforms, which are betting on Mexico and Latin America. What is your opinion of the work they are doing in the region?
MC I think what is being done is very good, although I think that the problem lies in who makes the decisions. For example, Pedro Paramo, by Rodrigo Prieto, has me very excited, but it is true that, on occasions, I have read great scripts that when they reach the screen, due to some decision, they change the character’s profile, their skin color, their context… Then the narrative it becomes something else. If those responsible for making these decisions do not start thinking differently, we will only see the same profile of privilege; that is, it will not matter too much if there are new narratives in the series or in the creative part of a project. Nevertheless, I feel very hopeful, because I know of very ambitious projects that I want to see on the screen and thus demonstrate that things can be done in a different way.
L&S. How do you remember the Ariel nomination for your work in The dance of the 41?
MC When these things happen, you turn to yourself and think: “you deserve to be there”. For me, from The dance of the 41 until The goddess of the asphaltEverything has been a process. Still today I say to myself: “you are fulfilling your dream. Leaving your mom was worth it.” The Ariel nomination for The dance of the 41 It was a surprise because although I liked what I did, I didn’t have high expectations. However, I believe that these nominations are just the top of a mountain which in turn becomes the base of a new mountain to climb.
They even told me: “Do you know that you are only going to play one type of character?”
L&S. On that climb, you suddenly come to that sign with white letters that says Hollywood. Have you ever imagined participating in a production like Black Panther: Wakanda Forever?
MC It was like a white glove slap, because I had always seen Hollywood as an unattainable place; At least that is what we had been told. As a child they tell you many things that are installed in your subconscious: the language, that if you don’t look like you’re from Hollywood… They even told me: “Do you know that you are only going to play one type of character?” I told myself that if it was going to be like this, I would make the best character. I almost felt like an extra, but I realized the weight of my work and Namora, my character. Arriving in Hollywood has been a process in which I have been believing in myself little by little. Leaving Comic-Con, when we presented the film, I got into a truck and I couldn’t stop crying and asking that Mabel girl to forgive me for believing everything she was told. She wanted to go back to tell my cousins and nephews to shake everything they are told out of their heads, because many times it is not true.
I couldn’t stop crying and apologizing to that little Mabel for believing everything they told her
L&S. A Marvel production requires specific physical preparation, more so for a character like Namora. How do you remember the process?
MC When I found out I was going to be part of the cast, I signed up with a swim teacher here in Mexico. He told my coach that he not only had to swim, which he already knew, but he also had to do somersaults, eat, live… Prove that he was a sea creature. Actually, I was scared to death, especially physically. In addition, I had to learn English, because it was something that I did not have in mind, and every day I carried a very heavy load. It was the training, but also diving and learning English and Mayan, which is the language of my character. There was a moment when my mind couldn’t take it anymore, because the five-hour training session from Monday to Saturday was extremely hard. That’s when I got attached to the discipline. I saw that my colleagues were doing their thing, so I had to do my thing.
Photos: Anylú Hinojosa.
Fashion: Ruth Buendía.
Fashion assistant: Daniela Casillas.
Hair and Makeup: Anna Mortera.