Spanish filmmaker David Victori has landed a global streaming breakout with “Firebreak” (“Cortafuego”). The Spanish-language psychological thriller has surged to No. 1 worldwide on Netflix over Feb. 23-March 1, drawing more than 20 million views in its first 10 days and beating the top English-language film over the same period.
Over March, where it sits over March 2-9 as No. 2 in Netflix Non-English shows worldwide, “Cortafuego” has also entered the Top 10 across dozens of territories, marking the latest international breakout for a Spanish-language thriller.
“Cortafuego” follows a mother searching for her missing daughter during a raging wildfire. As suspicion falls on a quiet neighbor, the search spirals into a psychological confrontation fuelled by fear, grief and prejudice.
Victori is known for his prior thriller “Cross the Line,” Netflix’s action series “Sky Rojo,” from “Money Heist” creates Alex Pina and Esther Martinez Lobato, and Legendary picture “You Would Do It Too.”
Produced by Anxo Rodríguez for Espotlight Media alongside producer Ferran Tomás, “Firebreak” stars an accomplished cast: Belén Cuesta, a Goya best actress winner for “The Endless Trench,” Enric Auquer, a Goya new actor laureate for “Eye for Eye,” Joaquín Furriel, star of HBO Latin America standout “The Bronze Garden,” and Diana Gómez (“García”), alongside Candela Martínez (“Past Lies”) and Mika Arias (“Father There Is Only One, the Series”).
In conversation with Variety, Victori discussed how he shaped performances, why he withheld the film’s ending from his cast and what’s on the horizon.
Can you talk about the filming process for “Cortafuego”? How was it different from your past approaches?
Three projects ago I started exploring a different way of directing actors. My first film was a very standard approach. When you finally get the chance to make a movie, you often stay on safe rails. During my second film however, my directing became more intuitive and less controlled, and the result was powerful.
With “Cortafuego” I pushed that approach further. We used long takes and gave the actors freedom inside the scene. I was not looking for a perfect take. I wanted the situation to feel rough and unpredictable.
For me the most interesting moments are the ones you cannot plan.
Sound plays a major role in building tension in your work. What was your approach to the score this time?
That was a big challenge. My editor and I wanted the experience to be intense, but the question was always when something becomes too much. We created a large amount of music with composer Federico Jusid and placed it throughout the film. Then when we saw the whole movie together we began removing pieces.
Sometimes a scene feels like it needs music when you watch it alone. But inside the full film silence can be much stronger. Some of the most tense moments ended up almost completely silent.
Did the imagery and motifs emerge naturally in “Cortafuego” or were they planned from the beginning?
At first I had the thriller elements. The missing girl, the suspicion between characters. But I kept asking why I wanted to tell this story. When I found the metaphor of the fire and the firebreak, everything became clear.
Other elements arrived later. For example, I discovered the “flower of fire” while watching wildfire documentaries during pre-production. It helped me end the film with a sense of hope without becoming overly sentimental.
How have you reacted to the release? And what is on the horizon for you?
When the film premiered I turned off my phone and stayed offline. I asked my producer to tell me only the most important news. I spent that time writing my next movie. I try to stay focused on the next story rather than on expectations.
As a creator you can move from passion or from fear. If you think too much about expectations, fear begins to guide you. I always try to return to passion.
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