I was invited to participate in a discussion on Una mujer fantástica/ A Fantastic Woman with the legendary Rosa Bosch, now also Honorary Visiting Professor at Warwick, and thought I’d grab the opportunity to lasso her from her busy schedule and into a conversation on her extraordinary career. In fact no lassoing was necessary, and she was as open and generous with her time, experience and knowledge as anyone could wish for. And great fun.
Born in Barcelona in 1962, part of the last generation to have experienced Franco’s dictatorship, Bosch depicts her career as peripatetic. She dropped out of studying chemistry, fell in love with an American, moved to LA around 84-85, and began working at the AFI Fest in Los Angeles, where because of her language skills, her first task was looking after Agnès Varda, Yevtushenko, and Tarkovsky. When the AFI decided to send someone to Havana, the American embargo and Bosh’s speaking Spanish contributed to her being chosen as the delegate. The Havana film festival was then the focal point and agenda setter for Latin American film cultures world-wide; and as Bosch tells it, Latin American cinema and culture has been, in one way or another, at the centre of her life ever since.
Names like Pedro Almodóvar, Fernando Trueba, Wim Wenders, Terry Gilliam, Fernando Birri, Gabriel García Marquez (Gabo), and Julie Christie pepper the conversation. She’s got a connection to Warwick through John King and pays homage to Sheila Whitaker who brought over to London to help bring Latin American cinema to the London Film Festival.
Bosch shares anecdotes about the screening of Guillermo del Toro’s The Devil’s Backbone at the Toronto Film Festival falling on 9/11; about the great Maria Luisa Bemberg taking her under her wing; about the making of The Buena Vista Social Club and about how Julie Christie sparked her re-connecting once more with The University of Warwick. The conversation ranges through various aspects of her extraordinary career – she’s been engaged with the business of culture in almost every capacity from curating to finding money for films like Amores Perros to developing campaigns so that films succeed in reaching their audience– right up to her producing the legendary Karl Lagerfeld/Chanel show in Cuba, which catwalked its way down Havana’s legendary Prado and evoked a clash of ideologies still heatedly discussed today.
The conversation can be listened to here:
Many thanks to Alison Ribeiro de Menezes and the School of Modern Languages and Cultures at the University of Warwick for arranging the event and making the interview possible.