Angela Correa: He was filming “The Journey” throughout the continent, and when he was in Brazil, I had a role, there we met. Then he came back to do other takes, he invited me to the premiere, but it was only some time later that we started dating. I clarified: “I am not an intellectual.” He does not care about me. The first time we went to Venice together, after the movie they took us to dinner in a castle, and he told me “Now you are a princess.” We spent thirty years as a couple, together, with so many possibilities that he had, and that I also had! We traveled a lot, we had fun, they loved him everywhere, he had friends: Costa-Gavras, Bertrand Tavernier, who opened the doors of France to him, García Márquez, Fernando Birri, Pope Francis, they were all friends. Twice we visited the Pope, very loving, it was not a formal meeting but a meeting of friends, and I sat there listening to them. The second time we went to invite him to give a talk at Unesco. He couldn’t, but he sent a message
Q .: What did Solanas do at Unesco?
A.C.: He wasn’t going to be just another ambassador. He was a work machine, he saw far away, subjects that had not yet been talked about, he put on the table. Warm, he did not do things. Either they were hot, or hot. And he had something fundamental: he knew how to listen to others. He had good plans, in the three months that we were, Unesco revolutionized, he wanted it to deal not only with the patrimonies of humanity but with the culture of the earth and the environment, those questions of life and death, like the disease itself that I kill him. In the act of cremation Audrey Azoulay, the director of UNESCO, compared it to a locomotive, and said that it will keep that engine running.
P .: Nobody expected that outcome.
A.C.: Nobody. For three days I was taking care of him at home, he did not want to go into the hospital until all the work was done. When he was finally admitted, five days later I had to go to hospital myself. It was very hard in Paris, I never thought he was going to die. It was hard to return with the ballot box under his arm, very hard. Now I live here in our house, I did not change anything, I do not see ghosts, I do not cry, I know that he is no more, but there is his energy. That guava was planted by him, and that avocado, that vine. Some time ago, he filled a bare field in Alsina with trees. Anywhere in the world it was different, it had an aura, it was imposing even when it was silent. I, a Brazilian with great pride, say that you had a fundamental man for your country, it was a very great loss, he left a legacy to many people, and many warning signs.
Q .: Are you lonely?
A.C.: I feel like a privileged woman. I am grateful for many things. I had a very nice life before him too. At the age of 20 he lived in Paris, he danced at the Moulin Rouge, in the number of a Martinique starlet. It was only three minutes a day, but with that I already had a work contract, I could rent, I was happy. Back in Brazil I did many series, I was the protagonist, for example in “Escrava Anastasia”, I bought a house for my mother, I bought one for myself. And then I continued alternating between Argentina and Brazil, I filmed with Carlos Reichenbach, with Héctor Babenco, with Pino! Here I also did television and theater. The last thing in Brazil was in 2015, “Apart Horta”, by Cecilia Engels, about the convenience of growing our own food. But later I preferred to stay longer with Pino. And it was not “the woman who sacrifices her career so that her husband can make his”, no. In the couple, each person is there to take care of, to accompany the other.
Q .: In “Tres en la deriva” there is a very nice part, where you sing a melancholic samba.
A.C.: EWe were on a walk to Paris, celebrating our 20 years of marriage, we visited some friends and Pino, always with his little machine, recorded me. He really liked hearing me sing. The theme is “Lembrancas”, memories, from Santos and Sampaio. “I remember a look, I remember a place, your beloved face. I remember a smile and a paradise that I had by your side. I remember a sadness that invades my days today. To my bad, I remember a sad goodbye at the end. I am now in the sea of this life a ship without direction! In Portuguese “a ship to roam”, adrift. Angela María, a famous artist from the ’50s, sang it, my parents named me Angela for her. I had a project to make a film about her and other artists of the ’40s and’ 50s, with songs that my mother sang at home.
P .: From what you did here in the theater, “Black Star” stands out, about the slave who, when the time comes, must decide her life for herself.
A.C.: Adriana Genta wrote that play for a black Argentine actress, Virginia Murature, but when he went to her house to show her the text, she had committed suicide, tired of waiting for an opportunity. Some time later Genta called me, told me that story. I had recently been in Argentina, I still didn’t speak Spanish very well, and they are all monologues, I studied like crazy, I couldn’t take this lightly.
P .: You did very well.
A.C.: Verónica Oddó directed me. Mom came to see me at the premiere at the San Martín, and the technicians just stopped! He left, and the strike continued.
Source From: Ambito
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