‘Who am I?’ For ‘Fantasmas’ star Martine, Vanesja is one part of her persona

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As a person who has always been fascinated by the complexities of human nature and the intricacies of interpersonal relationships, I found “Fantasmas” to be a breathtakingly beautiful and thought-provoking exploration of the human condition. The show’s ability to blur lines between reality and fantasy, and to delve deep into the psyche of its characters, resonated deeply with me.

In a program featuring stars such as Emma Stone, Bowen Yang, Amy Sedaris, and Aidy Bryant, Julio Torres’ “Fantasmas” could potentially create a television sensation for an individual commonly known as Martine.

“Martine, a trans visual and performance artist, shares excitedly over Zoom, ‘This is the most significant role I’ve been given so far. I’m now the leading actor in a television program. It could even be my favorite TV series.'”

If you’ve seen “Fantasmas,” Martine’s endorsement of the show offers a glimpse into her unique artistic style and sensibility. “Fantasmas” stands out from other TV shows due to its distinct qualities.

As a devoted cinema enthusiast, I’d describe it like this: From June 7, every Friday until July 12, HBO unveils a six-part urban fable set in New York City that tickles my imagination. In this captivating world, ExxonMobil constructs neighborhoods, and Chester, a popular rideshare app with a friendly driver named Chester, thrives. But wait, there’s more! Mermaids grace the sales floors, while rodents transformed CVS pharmacies into hip nightclubs. It’s a surreal, enchanting blend of modern technology and whimsical magic – an urban fairy tale that keeps me hooked weekly.

As a devoted cinema-goer, I’d describe it this way: In the magical realm of New York City that Torres paints, I, with a childhood trauma of being struck by lightning and an unusual allergy to the hue yellow, struggle daily to make ends meet. My trusty sidekick and robot assistant, Bibo, voiced brilliantly by Joe Rumrill, is always by my side. And then there’s Vanesja, my tenacious agent – the “j” in her name silently hidden – played by the captivating Martine.

As a movie buff, I’d put it this way: “This show defies easy classification. It pushes the boundaries of existing genres and creates something entirely new. Prepare to be surprised and intrigued as you watch it unfold.”

In “Fantasmas,” each scene, be it the comedic sitcom “MELF” starring Paul Dano, or the quirky vignette featuring Alexa Demie’s passionate customer service rep, exposes its deliberately fabricated stage presence. The artificiality of the production is unveiled through the use of set backdrops and improvised props. This fantastical realm never attempts to disguise itself as anything other than an exaggerated and absurd portrayal of everyday experiences.

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1. In a humorous sketch, Paul Dano appears with a “ALF”-like puppet named MELF. (Courtesy of HBO: Atsushi Nishijima)

Martine described her experience working on the show as if she were acting in a play. The set felt like a live stage with an attentive audience. Everything around us was transformed inside this massive soundstage – the school turned into a nightclub, and the nightclub morphed into a rooftop. The entire crew became that engaged audience.

In this intriguing display of a show, where the lines between sketch comedy and a ludicrous story blur, I found myself cheering for Julio as he attempted to evade obtaining an ID that would authenticate his existence. Simultaneously, Martine was given the liberty to experiment with her own identity – not just as a performer or artist, but also as an actor.

She expresses her shock, saying, “I hardly identify with that portrayal.” This is because, she explains, “It’s not really me – it’s Vanesja. I believe I adopted this persona under the pressure of my anxiety over delivering a solid performance. To progress, I felt compelled to project an enhanced, more robust version of myself.”

Martine finds it difficult to grasp the concept of being one’s true self. Her exploration of the fluidity of personal identity has been a recurring theme in her art, which has been displayed in galleries, museums across the US, and even at the Venice Biennale, as well as in publications such as Interview and Artforum.

“She ponders out loud, ‘What am I really?’ She feels the need to break free from that label. To cast off the old and embrace something new, more expansive, robust, and perhaps even predatory.”

The way Martine describes Julio’s language is playfully witty, effortlessly transitioning from thought-provoking to absurd with a touch of humor. This is likely why they have become friends. Martine recalls her first encounter with the Salvadoran comedian almost a decade ago at an archery competition. “It’s hard to believe,” she says, looking back. “Julio was at the buffet table. He follows a vegan diet, and I was attempting to feign the same eating habits.”

As they both stretched out to grab the final tater tot, their hands came into contact just as their gazes locked. In that instant, Martine realized she had discovered a new companion. Perhaps even more than that. “This is your sister in spirit,” she recalls thinking. “This is your soulmate in hunger… for connection.”

According to Torres, there’s something indescribably memorable about his initial meeting with Martine. He shares this experience through email by describing her unique talent for turning the serious into the comedic, and bending her own physical presence.

I’ve been in awe of how their friendship grew, right in the middle of their archery sessions and friendly DMs. As their careers took off in different yet complementary paths, Torres became part of the “Saturday Night Live” writing team and eventually released his comedy special (“My Favorite Shapes”). Meanwhile, Martine was making a name for herself with her art installations that mocked advertising campaigns (Martine Jeans), a publication that scrutinized glossy high-fashion magazines (Indigenous Woman), and live performances (“Circle”) that explored themes of gender, femininity, and self-expression in equally humorous and self-serious manners.

In their past projects, Martine and Torres have worked together in intriguing ways. Martine portrayed an unimpressed gallerist in Torres’ first film “Problemista,” and an impaled beauty queen in his Emmy-winning series “Los Espookys.” These collaborations seem like charming warm-ups for their partnership on “Fantasmas.” Vanesja, who has been acting as Julio’s agent for quite some time, blurs the lines between reality and performance as a performance artist.

“Vanesja exists only because of Martine, according to Torres. He often creates projects in partnership with performers, crafting unique pieces for them. The idea for Vanesja was sparked by mysterious voicemails left by Martine, hinting at a major business success that couldn’t be disclosed. They subsequently opened up to one another and began their collaboration.”

In the strange and dreamlike realm of “Fantasmas,” Vanesja serves as a reflection of how our own identities can blur with the characters we assume.

Martine expresses her appreciation for the themes prevalent in the show, remarking, “Many of these themes resonate with my own work.” She shares her fascination with mannequins and her exploratory approach to identity through costumes and personas. Her discovery of incorporating humor into this serious subject matter brought her great joy.

“I love mannequins. I love asking a lot of questions broadly about identity and using costumes and using personas to try and get to some deeper truth,” Martine says.
(Monica Lek / HBO)

Using Vanesja, Martine comes alive with her dry wit and comedy. Her humor remains sharp, and Vanesja’s professional demeanor adds to the allure of an artist-turned-agent. Martine’s captivating performance is filled with indifference, making her every word intriguing. Her voice is seductive and slow-paced, drawing Julio and audiences in. With her late ’90s attire of blazers and pencil skirts, she embodies a strong and serious femininity from that era.

“Vanesja possesses a classic combination,” Martine remarks. “She embodies the allure of femininity and the robustness of masculinity.”

In the context of this gendered stereotype, I’m curious: how did she manage to bring this captivating character to life, who appears both distant and engaged, chilly yet warm-hearted? What was her secret?

“What does it mean to ‘Vanesja’?’ she ponders aloud, chuckling lightly as she seeks clarification of my query. She may have discovered an essential aspect not only of her daily routine but also of her personality.”

Martine found great pleasure in collaborating with Torres to bring Vanesja to life, as it gave her an opportunity to explore hidden aspects of herself and her art, touching on underlying concepts of identity and self-expression. On a more fundamental level, she had a clear visual guideline in mind.

She expresses her deep fascination with Ursula transforming into a human named Vanessa from “The Little Mermaid.” She acknowledges a striking similarity between the two, describing it as if they were identical in essence, away from their respective disguises. This was her attempt to embody the villainous side of her personality that she believes resides within herself.

Martine added a unique touch to “Fantasmas” beyond just the Disney feel. She’s responsible for creating one of the most buzzed-about moments from the show, which was revealed in last Friday’s episode: Dylan O’Brien, her scene partner and star of “Teen Wolf,” wearing red lacy underwear, along with garters and stockings to match.

Dylan O’Brien and Martine in “Fantasmas.”
(Monica Lek / HBO)

She confesses that her scene, which added narrative value to the show according to her, was likely my only contribution. It’s all about personal preferences. I find it incredibly appealing when a man wears lingerie. Dylan didn’t have any qualms with it and pulled it off brilliantly.

In the somber and not particularly steamy scene of “Fantasmas,” an unexpected and contrasting image emerges without seeming out of sync. The production, like Vanesja, explores polarities but doesn’t stop there – it challenges or even playfully manipulates them. This ability stems from the show’s profound fascination with the deep-rooted personal struggles we all experience. Empathy for others is a consistent theme, even in the most unusual episodes.

In Torres’ words, “Fantasmas” refers to the collection of characters in the show. These characters manage to pique the interest of viewers despite having limited on-screen presence.

In agreement with that statement and aiming to clarify the unusual nature of this production, Martine reflects on its objectives by thinking of Jon Brion’s song “Little Person,” a collaboration between him and Charlie Kaufman for the film “Synecdoche, New York.”

In the 2008 film, a theater director is passionately determined to showcase the authenticity of everyday life. He accomplishes this by producing a play based on his own experiences and those of the people around him. Martine sings in the film, expressing her feeling of insignificance among the multitude of other individuals who go unnoticed in the vastness of life: “I’m merely one person, just a small fish in a large ocean, unseen by most.”

She remarks, “It seems everyone in New York and ‘Fantasmas’ is like this for me. We live in a TikTok world where multiple stories intersect, each person the star of their own tale. This experience comes closest to reflecting real life.”

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2024-07-18 19:35