As a seasoned critic with a penchant for films that pack a punch, I must say that Pablo Pérez Lombardini’s solo directorial debut, “The Reserve,” is a gripping tale that resonates deeply. With roots in Latin America’s vibrant film industry, Pérez has honed his craft under the tutelage of some of the region’s most influential directors.
Pablo Pérez Lombarddi honed his directorial skills by collaborating with prominent Latin American filmmakers such as Alonso Ruizpalacios (“A Cop Movie”), Rodrigo Plá, and Laura Santullo (“The Other Tom”). Now, Pérez is embarking on his first solo directing project, the environmental thriller “The Reserve,” which will be showcased in this year’s Copia Final section of Ventana Sur.
The movie ‘The Reserve’ is inspired by true accounts from environmental advocates. It narrates the journey of a forest ranger who fiercely protects the forest that borders her humble village. Filmed using local talent in a rural region of Chiapas, this film vividly portrays the daily struggle faced by conservationists throughout Latin America.
The Reserve” was created by Pérez’s firm, Pikila, based in Mexico. It has garnered previous recognition following its victories at the Premio José Maria Riba in Morelia and the Latamcinema.com award at Malaga’s MAFIZ marketplace.
Before the screening at Ventana Sur, Pérez had a conversation with EbMaster about embarking on his first solo feature film, collaborating with genuine actors, and his aspirations for his label, Pikila.
You might notice that the world depicted in the movie appears to be devoid of color due to extensive deforestation. It’s intriguing to know your motivation behind choosing black and white for the cinematography. Could you please share why you decided to film this movie in monochrome?
As our movie project progressed, it became apparent that black-and-white would be the ideal choice for our film. As we neared production, I recognized that color wasn’t essential to the narrative. Upon visiting the communities where we filmed, I adjusted my camera settings to black and white, transforming every scene into a potential shot. Lastly, when Yom’s original music was provided a few weeks prior to shooting, I felt confident that the melding of black-and-white cinematography with klezmer clarinet would create the desired ambiance.
The threats of violence against anyone who stands in the way of illegal loggers are very real across much of Latin America. Have you had any negative feedback to your production from the logging industry? And conversely, have you received any positive response from groups or individuals who are working to protect Mexico’s natural resources?
As a dedicated cinephile, I must admit that the response from the audiences and critics regarding our latest project has yet to pour in due to limited screenings thus far. However, allow me to share some insights about this film we’ve been passionately working on, set amidst the complex landscape of Chiapas – a region now serving as a hotbed for two dominant cartels in Mexico.
In choosing real-life actors for your movie, it lent an incredibly genuine atmosphere. Was the choice to employ untrained performers more about artistic expression or practicality? Also, was this method of filming something you had planned from the start?
It became clear to me that using real-life actors would be more suitable for portraying a genuine environmental conflict, requiring a detailed and authentic setting. Upon locating communities open to collaboration, I engaged in numerous discussions with coffee farmers to grasp the economic landscape where our protagonist’s struggle could unfold. As I conversed with these individuals, my conviction grew that they should be part of the film production process.
Have you collaborated with remarkable directors in the past, yet this is your debut as a feature film director. What was your take on the experience? Did any aspects of the production process catch you off guard, or did your prior work equip you to anticipate what it would be like to head up a project like this?
Working as an assistant director provided me with valuable insights about both directing and film production. This project gave me the opportunity to apply theories I had been pondering for some time. For me, the key takeaway is that a director, alongside the producer, bears significant responsibility in the creation of a movie, not only creatively but also ethically. When there’s a lack of accountability, filmmaking can turn into an exploitative, wasteful, and even risky endeavor.
Could you tell me more about your production house, Pikila? What genres of movies are you aiming to create, and are you open to collaborating with other filmmakers on their projects too, aside from the ones you initiate yourself?
At first, Pikila aimed to create personal films. However, my partner Liliana Pardo and I are open to the idea of working together with other filmmakers, as long as their values align with our company’s.
Read More
- SUI PREDICTION. SUI cryptocurrency
- „People who loved Dishonored and Prey are going to feel very at home.” Arkane veteran sparks appetite for new, untitled RPG
- LDO PREDICTION. LDO cryptocurrency
- Destiny 2: A Closer Look at the Proposed In-Game Mailbox System
- Clash Royale Deck Discussion: Strategies and Sentiments from the Community
- Jennifer Love Hewitt Made a Christmas Movie to Help Process Her Grief
- ICP PREDICTION. ICP cryptocurrency
- Naughty Dog’s Intergalactic Was Inspired By Akira And Cowboy Bebop
- Critics Share Concerns Over Suicide Squad’s DLC Choices: Joker, Lawless, and Mrs. Freeze
- EUR IDR PREDICTION
2024-12-04 21:17