🎬 CLAQUETA ÁCIDA
AUTEUR DOSSIER

«El hábito de monja es algo cercano a un fetiche erótico»: Paco Plaza destripa 'La abuela' y ajusta cuentas con el terror ibérico

SUBJECT Paco Plaza Director & Screenwriter
CENTRAL FILE La abuela ★ Leer Crítica →
SETTING & DATE Claqueta Film Archive
INTERROGATOR ✍️ Odin Lagbert ⏱️ ~12 min autopsia
Atmósfera - Paco Plaza
Paco Plaza
PORTRAIT
Conversación en profundidad con Paco Plaza sobre la creación cinematográfica, sus obsesiones estéticas y los límites éticos de su cine.
⏱️ MODO DE LECTURA:
● PRÓLOGO EDITORIAL

Paco Plaza (Valencia, 1973). Director, screenwriter, artisan of Iberian frights, and probably the only living person capable of co-directing the Operación Triunfo documentary only to immediately traumatize an entire country by locking down a community of neighbors in a quarantined building ([REC]). He moves with insolent ease between blind post-war nuns (Verónica, Sister Death), gothic gerontophobia (The Grandmother), road-trip comedies and bullfighting for multinationals (La suerte), and exercises in high conceptual gastronomy where people pay a fortune not to eat bread or dessert (Mugaritz).

Recently awarded the Honorary PUFA at the Pucela Fantástica festival in Valladolid, today he submits himself to the interrogation of Claqueta Ácida. No promotional filters, no sugarcoating, and with all cards on the table.

●ACTO / CAPÍTULO

I. THE HONORARY PUFA, VALLADOLID, AND ALMUDENA'S SHADOW

Still from the film The Grandmother directed by Paco Plaza
Still from the film The Grandmother directed by Paco Plaza
💬CLAQUETA ÁCIDA● INTERROGATORIO

You were recently awarded the Honorary PUFA at the PUFA (Pucela Fantástica) festival in Valladolid. We were there at the Broadway Cinemas, sitting right behind you and Almudena Amor during the screening. Knowing that you were a stone's throw away from Almudena's unflinching gaze (who in person is far more imposing than in The Grandmother), how much pressure did you feel knowing you had half the theater scrutinizing your every sigh and posture in the seat?

Filmmaker:

I sincerely hope people were paying more attention to the screen than to what you're describing. When I spoke with the organizers, I suggested that it be THE GRANDMOTHER specifically that they screen because it's a film that is especially well-liked and brings back very fond memories for me. And watching it alongside Almudena, who has become a great friend since then, was very nice. I hope people in the theater enjoyed it as much as I did.

💬CLAQUETA ÁCIDA● INTERROGATORIO

Receiving an honorary award in theaters as mythical as the Broadway Cinemas carries an undeniable romantic aroma of trench cinephilia. Do you truly enjoy the warmth of a theater full of fantastic-genre regulars smelling of popcorn, or is it starting to give you the creeps when the industry hands you "lifetime achievement" awards as if they were quietly preparing you for retirement?

Filmmaker:

As my father told me when I was given my career achievement award in Sitges, "you haven't even made that many, have you?" On the other hand, it's nice that what you've done in these 20 years since my debut is valued, and every time I'm in a theater watching a film of mine, I feel it as a gift—something that when I was a child I never could have dreamed of. I'm super grateful to PUFA, and for it to be in a theater with the tradition of the Broadways—well, just imagine. These theaters are cultural hubs that are becoming scarcer by the day, and we have to protect them. And the way to help them survive is by going. Because later on, we complain when it's already too late.

💬CLAQUETA ÁCIDA● INTERROGATORIO

Upon receiving the Honorary PUFA in Valladolid, did you perform any protective rituals or touch wood before going up on stage to ward off the classic curse of the career-awarded filmmaker?

Filmmaker:

Still from PUFA 2026
Still from PUFA 2026

Well, no. And mind you, I'm superstitious. Should I have done something?

●ACTO / CAPÍTULO

II. UNSETTLED SCORES WITH THE GENRE AND THE "PLAZAVERSE"

⚡DYNAMITE DART● CONFESIÓN CLAVE

Let's talk about historical debts. To this day, there are still viewers asking you for explanations (or demanding a refund of their 14€ ticket) for [REC] 4: Apocalypse, despite the fact that installment was directed solely by Jaume Balagueró while you were busy with other matters. How many times have you had to swallow your spit, put on a poker face, and take the blame for someone else just to preserve a beautiful friendship?
Illustrative still from [REC]⁴ Apocalypse
Illustrative still from [REC]⁴ Apocalypse

Filmmaker:

Well, never. I love that movie. Jaume wanted to steer the saga toward a more action-oriented genre, just as I did with the third one toward romantic comedy. REC was our toy, and the success allowed us to be free and do whatever the hell we wanted with it. You don't always reach that level of freedom, and I think it's worth celebrating. Whoever wanted more of the same could watch the first two as many times as they liked; we wanted to try new paths, and we did. We can say we took advantage of the circumstances to be free, and that is always worth celebrating.

💬CLAQUETA ÁCIDA● INTERROGATORIO

From Verónica to Sister Death, musty Catholic imagery, habits, and novices trapped between crucifixes are your preferred playground. Aside from sacred poetics and religious horror, how much of a real factor in the decision was the fact that asking for permits to shoot in empty convents considerably lowers production costs?

Filmmaker:

Still from The Grandmother Paco Plaza
Still from The Grandmother Paco Plaza

Lowers costs? That's news to me. As a former Salesian student, Catholic iconography fascinates me; it's an endless source of incredible images. Besides, it's true that the nun's habit is close to an erotic fetish—it has something about concealing the shapes of the body that is infinitely more insinuating to me than a latex bodysuit. Uniformity in dress, physical punishment, the suppression of pleasure—these are tremendously rich elements for cultivating the fantastic genre.

💬CLAQUETA ÁCIDA● INTERROGATORIO

We look back with fondness and a certain cinephile cruelty on your Fantastic Factory era directing Romasanta. What goes through the mind of a debut director when watching homegrown legends like Paco Rabal trying to deliver Shakespearean English dialogue with a thick Galician accent in the middle of the frozen mountains of Ourense?
Still from The Grandmother Paco Plaza
Still from The Grandmother Paco Plaza

Filmmaker:

I never had the good fortune to direct Paco Rabal. I wish. I would have loved to because he was a monumental actor. Romasanta, my second film, was a true school for me and my first job with many friends who have since been fundamental to my entire subsequent career. I haven't seen it in years, but I have a very fond memory of it.

💬CLAQUETA ÁCIDA● INTERROGATORIO

In Verónica you turned a 90s police case into a pop phenomenon. Having confessed that you went to a religious school during that decade, how much of the film responds to the events in Vallecas and how much is a personal settling of accounts with the nuns and religion teachers of your adolescence?

Filmmaker:

There is very little of the real event in the film, to be honest. In fact, there is more drawn from the so-called "Embajadores case" and others from that same era. In fact, one of the main changes regarding the "real" story was that religious context we invented. The character of Sister Death is inspired by a Salesian from my school who was rumored to have performed an exorcism in Africa and was a legend on the playground. The children feared and admired him in equal measure.

💬CLAQUETA ÁCIDA● INTERROGATORIO

You recently joined the international found footage universe in V/H/S: Beyond. How does it feel to enlist in an endless franchise where the viewer goes to the theater demanding the exact same formula of scares for the ninth consecutive time?
Illustrative still from Romasanta: The Hunting of the Tooth
Illustrative still from Romasanta: The Hunting of the Tooth

Filmmaker:

I hadn't seen any since the original VHS, but I love that franchises exist that stretch on for years and years and serve as a meeting place for the horror community. I think their lack of pretension makes them very endearing, and I loved being a part of it.

●ACTO / CAPÍTULO

III. FROM THE ARENA TO HIGH CONCEPTUAL CUISINE

💬CLAQUETA ÁCIDA● INTERROGATORIO

With the documentary Mugaritz: No Bread Nor Dessert you dissect the avant-garde cuisine of Andoni Luis Aduriz. How do you explain to a gore devotee that genuine terror isn't in Sister Medeiros or a chainsaw, but in paying 250 euros to taste "concepts" and uncertainty without the right to a miserable piece of bread?

Filmmaker:

Illustrative still from the documentary Mugaritz: No Bread Nor Dessert
Illustrative still from the documentary Mugaritz: No Bread Nor Dessert

I think the documentary explains it perfectly. It's certainly not a place for everyone; it's a tremendously special spot that requires a certain sensitivity and imagination. Andoni Aduriz is one of the brightest and most creative people I've had the good fortune to deal with; I've learned a lot from him, especially his impermeability to the cheap criticism that taking risks like his entails.

💬CLAQUETA ÁCIDA● INTERROGATORIO

Plenty of poetry about culinary creative tension at Mugaritz, but let's get down to the trenches: how many Michelin-starred dishes hold up against a good cold tortilla sandwich and a cup of burnt thermos coffee at four in the morning on a night shoot?

Filmmaker:

There's a time and a place for everything. A tortilla pintxo can be eaten and enjoyed almost daily, like a coffee, a plate of ham... essential pleasures of which one never tires. Gastronomic experiences like the one at Mugaritz or other places only make sense when they are exceptional milestones that you reserve for very specific occasions. And nothing beats a good plate of fried eggs with potatoes in terms of enjoyment—that is the pinnacle of gastronomy, and no one with half a brain would argue otherwise.

⚡DYNAMITE DART● CONFESIÓN CLAVE

Diving into shooting a road movie about bullfighting for Disney+ alongside Ricardo Gómez and Óscar Jaenada borders on reckless provocation. Were you looking to build bridges in a polarized Spain, or was it the perfect alibi to travel 6,000 kilometers drinking fino and sherry on the platform's dime?

Filmmaker:

We drank a lot of sherry, indeed, and we thoroughly enjoyed shooting the series. Furthermore, it allowed us to peek into a world so close yet so distant from us as bullfighting. We felt like astronauts visiting a strange planet; and let me point out that we were welcomed and embraced by everyone in that world who collaborated with us with great generosity. Working with Óscar and Ricardo, and the rest of the cast, was a blast. And any feathers that tackling the subject of bullfighting might ruffle a priori are neutralized as soon as you watch the series.

💬CLAQUETA ÁCIDA● INTERROGATORIO

You have always fiercely defended that in real life people interrupt each other, trample over one another, and speak simultaneously, much like in the films of Berlanga or Azcona. Why does it still take certain critics so long to understand that when your characters step on each other's dialogue, it's pure costumbrismo and not a sound technician's negligence?

Filmmaker:

I always try to strip away the artifice in the way characters speak, and that extends to the fact that actors do indeed step on each other's lines or leave sentences half-finished, just like we do in real life.

●ACTO / CAPÍTULO

IV. "CLAQUETA ÁCIDA" IMPACT TEST (POINT-BLANK)

Illustrative still from Mugaritz. No Bread Nor Dessert
Illustrative still from Mugaritz. No Bread Nor Dessert
💬CLAQUETA ÁCIDA● INTERROGATORIO

You openly confess to analyzing Island of Temptations as if it were a Douglas Sirk melodrama. If you had to direct the feature-film version as a psychological thriller, which Spanish actor would be your star tempter?

Filmmaker:

Ha, ha, ha, ha... I think there are several who fit the profile; if that project were made, it would be a stroke of luck that many actors nowadays have very athletic physiques. I resist giving any specific names, but I'm sure we all have a couple of guys and girls in mind.

💬CLAQUETA ÁCIDA● INTERROGATORIO

Is it an urban legend, or does your blank-page fertility critically depend on an uninterrupted supply of chocolate palm-leaf pastries and Círculo Rojo pound cakes?

Filmmaker:

It's a myth. I haven't consumed industrial sweets in years, with the exception of a Phoskitos I had this summer.

💬CLAQUETA ÁCIDA● INTERROGATORIO

You've stated that your athletic activity is strictly limited to going to the gym just one day a week to keep your osteoarthritis at bay. On a scale of 1 to 10, how much dread does that weekly hour instill compared to the wardrobe in Verónica?

Filmmaker:

You guys are outdated. For a while now I've been going to the gym 3-4 times a week; I was diagnosed with osteoarthritis in my lower back and I need to do back exercises frequently to strengthen it. And the truth is I've actually grown to enjoy it.

⚡DYNAMITE DART● CONFESIÓN CLAVE

If a ruthless producer forced you to choose: would you direct Operación Triunfo: The Return with the contestants from the latest batch or make an American remake of The Grandmother shot entirely in vertical format for TikTok?

Filmmaker:

Operación Triunfo, without a doubt. It's true that in the latest batches it's hard to find artists with the charisma of the early ones, with exceptions like Amaia, who is an incredible icon. But if I have to choose, Operación Triunfo without a doubt. There could always be some nostalgic cameo by Chenoa or Javián (my favorites).

Still from PUFA 2026
Still from PUFA 2026
💬CLAQUETA ÁCIDA● INTERROGATORIO

In the dark in the Broadway Cinemas stalls at three in the morning: what would give you a bigger heart attack, stumbling upon a worn-out Ouija board or a deconstructed conceptual foam from Mugaritz?

Filmmaker:

The Ouija board scares me a lot. Better to keep my distance from it.

“
«REC was our toy, and the success allowed us to be free and do whatever the hell we wanted with it. You don't always reach that level of freedom, and I think it's worth celebrating.»
Still from PUFA 2026
Still from PUFA 2026
FILMOGRAFÍA Y EXPEDIENTES

🎬 Filmografía de Paco Plaza

21 Titles in Archive
V/H/S/Halloween 2025

V/H/S/Halloween

Filmografía oficial
La suerte 2025

La suerte

Filmografía oficial
Mugaritz. Sin pan ni postre 2024

Mugaritz. Sin pan ni postre

Filmografía oficial
Hermana Muerte 2023

Hermana Muerte

Filmografía oficial
La abuela 2022
Historias para no dormir 2021

Historias para no dormir

Filmografía oficial
Quien a hierro mata 2019

Quien a hierro mata

★ Leer Crítica
Verónica 2017
Ultravioleta 2014

Ultravioleta

Filmografía oficial
[REC]³ Génesis 2012

[REC]³ Génesis

★ Leer Crítica
Bunbury 3D 2010

Bunbury 3D

Filmografía oficial
🎬 Luna di miele, luna di sangue VII
2010

Luna di miele, luna di sangue VII

Filmografía oficial
[REC]² 2009
[•REC] 2007
Small Gauge Trauma 2006

Small Gauge Trauma

Filmografía oficial
Cuento de Navidad 2005

Cuento de Navidad

Filmografía oficial
Romasanta: la caza de la bestia 2004

Romasanta: la caza de la bestia

Filmografía oficial
OT: La película 2002

OT: La película

Filmografía oficial
El segundo nombre 2002

El segundo nombre

Filmografía oficial
Abuelitos 1999

Abuelitos

Filmografía oficial
The Same

The Same

Filmografía oficial
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Este expediente fue transcrito sin censura ni concesiones promocionales. Prohibida su dilución en lugares comunes.

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