29 Gen An interview with Julia Sofía Vega, director of “The Day After”

Posted at 16:17h in Interviews by


Julia Sofía Vega

 

«Cinema is my life; it’s the art of capturing the essence of who we are—our cultures, our pain, our passions. It’s a window to entire universes, a collective creation that speaks intimately to the soul.»

 

BIO

Julia Sofía Vega is a renowned Argentine director and screenwriter, recognized for her work in independent cinema. In addition to her filmmaking career, she is also a photographer, illustrator, and teacher, bringing her creative touch to each of these fields.

 

 

The Day After follows a young woman through her day after a suicide attempt. You mentioned that the film comes from a very personal and intense experience. How was it for you to transform that experience into images and storytelling?

 

For me, cinema, like any artistic medium, is cathartic—a form of therapy through images and sound. All the stories I tell come from a deeply personal place. In this case, I chose to share my own experience with depression and suicidal thoughts. Not only because it lifted a weight off my shoulders, but because I believe it’s essential to talk about these stories.

 

 

The style of The Day After recalls neorealism, with an essential mise-en-scène and a strong focus on reality. What were your main cinematic influences?

 

My greatest influences for The Day After were films from Italian neorealism, particularly works like Vittorio De Sica’s Ladri di biciclette, which inspired me to portray raw and authentic realities in a simple and honest way. From neorealism, I also embraced the idea of having the lead actress interact with real people on the streets—most of the other characters in the shortfilm are not actors, which brought a genuine and spontaneous quality to the story. I was also deeply influenced by Agnès Varda’s Vagabond for its intimate exploration of a solitary journey, and by Lucrecia Martel’s La Ciénaga, especially for its contemplative approach and the way she captures the subtleties of human behavior

 

 

There is a particularly striking scene where Giulia smokes a cigarette while holding a flower, creating a fascinating visual contrast. Can you tell us how this image came to life?

 

  The image of Giulia smoking while holding a flower came naturally during filming. I was drawn to the contrast between life and death—the flower representing something alive, and the cigarette symbolizing decay. It wasn’t something we planned in detail, but it perfectly captured the emotional state of the character, balancing fragility and resilience in a single moment.

 

 

 

 

What reaction or emotion do you hope the audience will take away after watching The Day After?

 

 

I hope the audience leaves with a sense of quiet reflection. The Day After is not about giving answers but about capturing an emotional state—one of loneliness, survival, and the search for meaning after hitting rock bottom. I want viewers to connect with the protagonist’s journey in their own way, to feel her isolation but also the small moments of beauty and resilience that exist even in despair. If the film makes someone feel seen, understood, or simply sparks a thought about mental health and the importance of these conversations, then it has fulfilled its purpose.

 

 

What are you currently working on?

 

I’m currently focused on showcasing my first feature film, Marianela y el cadáver, bringing it to festivals and later to theaters. At the same time, I’m in the process of writing the script for my second feature film, which is an exciting new challenge.