Jorgelina Aruzzi, Luciano Castro and the debut of The First of Us: Friendship in the limit moments and why the cast chat was eliminated

Large spaces, leather armchairs and top-of-the-line furniture: Luciano Castro and Jorgelina Aruzzi receive to teleshow in a scenery set in the great bet of phone for this year. From tonight fiction returns to the channel with the first of usa series that will also be broadcast on Paramount+ and that particularly challenges those who are in their 40s. Everything is triggered by what happens to Santiago (Benjamin Vicuna), who has half his life ahead of him, a beautiful present and a group of iron friends. Until, at a meal like so many, he collapses and must be hospitalized urgently, with his friends sharing the waiting room and with an anguish that materializes when he finds out that he has a terminal illness. From then on, the world of him and those around him will no longer be the same.

Luciano and Jorgelina are part of that group -in a leading choir that complete Paola Krum, Damian de Santo and mercedes funes– which is forced to contain and contain itself. And at the same time, to deal with their own stories and what happens to them with that repressed love for different reasons. In fiction, they are Nicholas and Valeriawhich represent two opposite points with a common past and the shock of the disease Santiago it presents them with an uncertain future that pushes them to think together.

In reality, the actors live moments of emotional and professional fullness that they transmit in each of their responses and in a chemistry that is perceived beyond what is shown on the screen. After starring in the theatrical hit nudesLuciano enjoys his relationship with vine flower opening the doors of their intimacy like never before, while maintaining a healthy and assembled bond with Sabrina Rojas, the mother of his two youngest children. More jealous of her private life, Jorgelina breaks it as co-writer and director of Pure bloodthe work that stars Griselda Sicilian at Multitabaris Comafi, and that intends to question some gender mandates. Like in the first of usfiction and reality are diffuse barriers that force us to constantly rethink some of the most transcendental questions of life.

—To begin with, tell me what your characters are like?

Luciano: —Nicholas he was orphaned at a very young age and was like the stepbrother in Vicuña’s character’s life. He inherited millions, he never knew why, but he had them, and he always lived escaping commitment, any kind of relationship. Valeria She is his lifelong friend and he was always in love with her, but he decided that it was best to avoid her so that nothing would happen to her. She at the same time has her mambo parallel to her and through what she goes through with the first of ustime speeds up and another search begins.

-AND Valeria?

Jorgelina: —She is a very independent woman, she always fought for it, and now she is looking to be a single mother. And well, he comes across this news that changes all his friends, which is the finitude of the group’s life, which also makes them see that life is very short and they wonder what they are doing to be happy, what are they the wishes that remain And she also comes across the love she feels for her best friend, with what that implies, because they are very opposite in what they think and how they live.

—In your personal lives, have you ever had to accompany a friend in this situation? Because we are all growing and we are all getting closer.

Jorgelina: —And yes, sometimes it has nothing to do with age but with what you have to go through. It touched me and I accompanied. And it seems to me that in those moments of life you like to be accompanied or accompanied by people who love you and trust you. It is difficult, but you have to be.

Luciano: —It touched me too. I don’t know how I accompanied her: she had a terrible time every time she had to go. But one day a friend told me: “I don’t choose to accompany either, huh”. And that was also a phrase that I choreated a lot, because sometimes to work in fiction, one does not choose to be in the place where he is.

—There is something in what you were saying, Jorgelina, that has to do with finitude, and I like fictions like this one that proposes rethinking what we are doing with our lives. Do you feel that you are doing what you choose to do?

Jorgelina: -I do. And if it were my last days I would like to be where I am.

Luciano: “Me, more than ever. And if it were my last days I would like to be where I am, or if I can be a little further in this new stage, better. But if not, I’m super grateful.

—You have just spent a few days on vacation with your children on the beach. How is that daddy Luciano?

Luciano: —Uh, I don’t know, we would have to ask wait already Splendor. But I think we all do the best we can or try. I have a lot of errors. But hey, I have a great mother who accompanies me and gives me a hand, I’m not alone. Sabri I was working here, and then I came and went. But yes, sometimes I find myself in situations that are hard for me to resolve and then I feel really bad (laughs).

—With Sabrina they achieved a bond as a family that is the envy of many separated who do not achieve it.

Luciano: “Okay, but it’s good to know this is years old.” Sabri and I have been working for years to be where we are today. It’s not that we said: “Bye, it’s over and we’re two geniuses”. No. We had a great time and we worked a lot. The good thing is that it has given us a result and that today we can be fine, nothing more than that.

—They have built something that hopefully many people can have, because it is the best for the children.

Luciano: -It’s fine. But it’s good to know what you’re working on, it’s not easy. Which is not pleasant. There are a lot of things you’re going to do that you don’t agree with, that you don’t choose, but you know you have to do them. Do you understand what I say? It has to do with what matters, not with what you want. And you go into that.

—Are you planning a trip with your daughter, Jorgelina?

Jorgelina: -I dont know yet. I am half with what the pandemic left and all the things that are happening is to improvise a little more. I no longer plan so much because it is not possible, so I go step by step. I am setting my times, hers, the weather, the passages…

—In the theater with Pure blood you pose a look that has to do with the mandates, and I thought of this Valeria who goes in search of her motherhood in a different way. How are you doing today with mandates? Because we, all of us, grew up with certain impositions that today we allow ourselves to question.

Jorgelina: -Yes. I think that until now in this revision we have only the slogans, what we have to do, and now we have to comply with them and be able to open up to get there. Pure blood It deals a bit with that, that although we are all very empowered, later, when it comes to loving, we put ourselves in a place that is prehistoric. So, you have to be honest with all that learning: there are centuries of machismo and oppression towards women and other people. I’m in it, learning, trying to transmit things to my daughter, Amberand she also teaches me.

—Luciano, when you rethink yourself, do you see any macho attitudes you’ve had in the past?

Luciano: -Thousands. Logically, I am in the middle of my generation and I also learn a lot from my nephew, my niece, my son, my daughter. I repeat the same thing I said before: You have to be willing for change to happen.. And I have a lot of stuff. Luckily, never anything that says “I regret this”, but responding to a mandate that has nothing to do with it, that we allow ourselves to question, and with great pride.

—Did you ever find Sabrina or Flor telling you: “Don’t bully me”?

Luciano: -No. Farting shit yes, but not telling me that. They are different things, because I grew up with women also: although I come from another generation, respect was instilled in me at home since I was a child.

—If I think back, you were more guarded in your private life, more reluctant to show it. Now you are more open. What does it have to do with?

Jorgelina: —He forgets, he doesn’t know. She doesn’t know what she shows. She doesn’t know what he does (laughs).

Luciano: -Good thank you.

—It’s delivered.

Luciano: —I was looking for the most elegant answer but yes, it could be that… I don’t know. I grew up. And also growing up makes me not have so much bad blood or have so much prejudiceNot for me or for anyone.

—I’m going to ask you to ask each other a question, do you dare?

Luciano: -Yes of course.

—I want to ask you about the chat group of the first of us.

Jorgelina: —He got out as soon as they put it together (laughs).

—They put together a group with the cast and got off?

Luciano: -It was like this? Well, it happened. I kind of always arrive late for the chat. And if I really have to tell you something, I’m going to write you privately or I’ll call you.

—When you left the group did you notify? Did you say, “Guys, sorry, I’m going to go”?

Luciano: “No, I just left. If I was going to see them all the next day here…

Jorgelina: “Yes, he said, ‘Let’s talk in person.’

“The rest stayed in the group?”

Jorgelina: —No, he hit hard (laughs).

Luciano: —For me it’s a shitty group, huh. Oh well…

Jorgelina: “No, but we always saw each other.” Has no sense.

—From this you know that we are all going to headline that they get along terrible…

Luciano: “No, we really didn’t need to. We talked a lot, we ate a lot together. We did a lot of dressing room talk. As there were many dead times, because it was filmed with new lenses, we had thousands of talks. And besides, I don’t know why, but it was a year in which something happened to all of us. So we found ourselves in a certain way containing, being an ear, fighting.

—The artistic environment has just suffered the death of Gerardo Rozín after a brain tumor, and I can’t help but ask them, because it’s the same as the character of Benjamin in the series. Did it impact them?

Jorgelina: —Yes, of course, although we knew that he was suffering from that. When someone good and above all full of joy dies, a huge void remains..

Luciano: —There is a huge parallel and there’s no way it won’t have an impact… Even the station, the colleagues, everything has enormous parallels. It is unavoidable. I didn’t know Gerardo, but I imagine that because of the ways he had, he himself would have said: “Go ahead.”

Watch the full interview