Interview with TIBIDA winnerThis year's winner of the Ingmar Bergman International Debut Award is Mexican film Parque vía. Face to Face met the first-time director the same day he received the prize in Göteborg. |
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The film revolves around Beto the custodian of a house in Mexico City, left empty for several years, in which he used to work as a domestic helper. The solitude of the last years, as well as the monotony and routine of his job have made him lead a secluded life. The camera tracks Beto in his daily routines in long, elaborate shots. Through his telescreen, Beto follows the constant reports from the violent world outside of his own solitary existence. The film has earlier also received the Golden Leopard at the festival in Locarno.
What was it like to work with the debutant Nolberto Coria in the leading role?
The film is partly based on Nolberto's life and he makes his actor's debut playing Beto. He has worked in the same house that plays such a big part in the film and was also the first to accept his involvement in the film. My goal was to let the spectator become part of his rhythm and to experience his feelings. We did not shoot the film in chronological order, so he did not always know what to feel. Still, he had complete confidence in me. We started by shooting the scenes covering his daily habits, but sooner than expected we got to the parts which took an effort in acting. But even that turned out to work out excellently.
In spite of the fact of you living in Spain you choose to make the film in Mexico?
The story always chooses you and you merely have to follow it. I also still feel more Mexican than Spanish. Mexico is a young country where the new possibilities are side by side with the old traditions. It means a certain way of looking that is hard to put your finger at. The film has gained distribution in Spain and Venezuela but so far not in Mexico. I will most certainly lose all the money I have invested in the film, but still I am planning to distribute it myself. I don't owe anyone money and first and foremost I am grateful to have had the possibility to be able to make this film.
Three Mexican films is screened only in TIBIDA. Would you say that you are a part of a new creative Mexican film wave?
It really holds two tendencies, with one alternative film industry and one more commercial. For example, I don't know Gael García Bernal or the other big actors. In the alternative we share ideas on film making and have it as a main focus in life, even though the commercial industry is much bigger. On the other hand I am close friends with Amat Escalante (the director of Los Bastardos also competing in TIBIDA). I find his film being the best made this year. We also shared parts of our film team.
There are some affinities in your films, for example the strong alienation theme. Would you say that this is typical in contemporary Mexican film?
Amat is for example more into Michael Haneke than I am. I think that his last film, Sangre, has lots more in common with Parque vía, even though I personally am more attracted to Los Bastardos. In focusing on one character, like I do in my film, the focus is also set on this person's loneliness in relation to the rest of the world. Through this focus you also touch upon the universal human values. It is interesting to describe a solitary human being; a person who is lonely is also rational. It is not until she is together with others that she becomes irrational.
You mainly work with amateurs. Where did you find the cast for your supporting roles?
I catch up persons I run into and every character carries his or her own stories. One of the two taxi drivers I found when he was driving me to different shooting location. I really love going by taxi in Mexico City. My script contained 50 pages but most of these scenes were improvised.
How did you first come across the works of Ingmar Bergman?
I am not raised in an intellectual environment. My first meeting with Bergman was when I was 12-years-old watching TV, zapping between the channels. Suddenly there were some images that made me stop zapping. It was Wild Strawberries. I went to the video rental store where I could rent two films to the price of one. After that I spent my mornings watching Bergman's films and my afternoons with Godard. These are images you'll never forget. Everyone has constantly ongoing Bergman film in their head. I am also very fond of his titles, the metaphorical as well as the hard and direct ones. I had a very difficult time choosing the title of my own film.
How do you as a film director relate to the film history?
It is there subconsciously. If you are working with drama you also automatically need to relate to the films of Ingmar Bergman. Either it helps or goes against the film .You always carry the film history with you. It reminds me of Godard's words on film making. If you want to make a film about love, you need to see all the earlier films about love, read all the books, watch all the art, etc. Not until then you can try making it yourself. But then you also have the intuition, the subconscious telling you whether what you are doing is right or not. The hard thing in making films is never the technique, it is learning the language. It is the mediation of the emotions that is the great thing about film.
(The editors of Face to Face, Feb 4, 2009)