Jennifer Lawrence comes back. Said like this, and taking into account that the aforementioned is barely 32 years old and her career since her film debut in 2008 has experienced an uninterrupted succession -very close to the simplest drunkenness- of successes, awards, blockbusters and recognitions hardly peppered by a stumble – remember: he fell down the steps on the way to the Oscar – and a hack of some private photos sent to her boyfriend; Said like that, we said, it sounds impertinent. And indeed, it is. The supposed halt to which the youngest actress with three nominations for the Hollywood Academy Awards submitted her path to glory is barely an imperceptible hole in an almost perfect resume. But the fact is that, said by her, he returns. And she makes it more mature. That’s what she says. She more she owns herself. That she demonstrates by producing her own films. And more anxious. “You can’t heal from that,” she adds.
“Working with younger people makes you feel older with each passing day,” she comments by way of presentation on her way through Madrid after a tour that has taken her to up to five European capitals. Without bad rolls It is his last work, but, in a way, it seems like the beginning of everything that will probably come after. First of all, and very far from its usual register, it is a comedy. It does not want to be a new opportunity to collect prizes, but probably for the opposite: to laugh at them. Behind this story lies Gene Stupnitsky, one of the brains of the postmodern manners series The Office, as well as the director of a rare and very brilliant nonsense signed in 2019 and that goes by the name of good guys.
“Sometimes,” says Lawrence, “everything is as easy as getting your hands on a good script. Suddenly, nothing that a woman is supposed to do in a comedy is there. And that, in itself, is exciting. An eminently physical comedy in which the protagonist is a kind of foul-mouthed antihero… How to resist.” It would seem that the actress is struggling against the image that has been too often given by the media of her as the natural heir to overly serious stars like Meryl Streep herself. It would be said that the one that she was during the years 2015 and 2016 the highest paid on the planet Hollywood aspires to have exhaustive control of each step she takes. And here comes what could be considered the second argument of her return, resurrection or reinvention of her. As you want.
«I couldn’t say exactly when it all started. Maybe six or five years ago, with my friend Justine Ciarrochi, we thought about the possibility of making any movie buff’s dream come true, geek of the cinema or simply a fan. Can say: “I like this director and I want to work with him.” Sometimes your only job as a producer, especially when the script is good, is to just put on a movie star face when you have to.” It is clear.
To situate ourselves, Sin malos rollos tells the story of a kind of modern pretty woman, but backwards. A woman (she) agrees to give life to a teenager about to go to university in exchange for something as necessary to breathe as money. That would be the argument approved by good customs and good people. The other, the one faithful to what is seen on the screen, is much more direct: a thirty-year-old agrees to deflower a rich kid (ie, prostitutes herself) in order to save her family home. So easy.