VENICE (EFE) .— The absence of the daddy determine in Latin America and its repercussions is the theme that focuses on “La caja”, a movie with which the Venezuelan Lorenzo Vigas opts for his second Golden Lion in Venice and which additionally comprises a mirrored image night on the leaders of the subcontinent.
The director returns to the Mostra after changing into the primary Latin American to win it over with “From there” (2015), his characteristic movie debut, and he did so to applause.
“La caja” is the story of Hatzin (Hatzin Navarrete), a boy who goes to gather his father’s stays in a mass grave within the violent north of Mexico, the place the cartels train their energy.
The boy begins to doubt the actual whereabouts of his father when he meets a person (Hernán Mendoza) who seems to be like him on the road, whom he begins to observe seeking the reality.
Vigas, a Venezuelan dwelling in Mexico, closes with this movie a trilogy in regards to the determine of the daddy that began with “The elephants never forget” (2004), awarded on the Cannes Critics’ Week, which adopted with the acclaimed “From there” .
The thought was to indicate “the archetype of the Latin American father”, though not as a private concern given the nice relationship that the filmmaker maintained along with his father, the painter Oswaldo Vigas, to whom he devoted the documentary “El vendor de orquídeas” (2016).
“In Latin America it is very common for children to be raised by mothers because many times the fathers are not at home and show what the consequences of that are,” Vigas stated on the press convention.
Effectively, he believes that it’s “a matriarchal continent” wherein that absence “is generally more important than presence.”
On this sense, he argued that “it is no coincidence” that Latin America, the place there are such a lot of dad and mom, “falls in love with characters” similar to Hugo Chávez or Juan Perón, he stated.
“Many times we try to replace the figure of the father that we do not have at home with someone who substitutes his authority,” he defined.
However he warned that “blind love” in direction of referents or leaders who supplant that absence, “can lead to dangerous places.”
“You have to understand who we love and why we love that person. It is true that many people are willing to give their lives for characters that have been terrible for the history of Latin America ”, he lamented.
The movie takes place with job insecurity as a backdrop, as the person in whom Hatzín believes he sees his father useless earns his dwelling by recruiting low cost labor that’s exploited within the maquiladoras or factories, that are accessed with the digital camera. A state of affairs that he determined to incorporate in his work “naturally” when he wrote the script.
“You don’t make films to win awards, but because you have stories that burn you inside and you have to get out,” concluded Vigas.
The filming of “La caja” came about in Chihuahua, one of the crucial harmful locations in Mexico, and that was one of many principal challenges. The capturing classes had been powerful, as befits a director identified for his perfectionism, who in twenty years has solely edited two characteristic movies.
Mendoza, who needed to achieve 50 kilos for his function, recalled that they repeated the takes ten or fifteen instances in “search for a scent of reality” to which the protagonist, Hatzín Navarrete, who was 13 years outdated on the time, contributed.