As a seasoned film enthusiast with a soft spot for stories that delve into the intricacies of human experiences, I found “Reinas” to be a captivating masterpiece. Klaudia Reynicke and Diego Romero’s collaboration on this period piece set against the backdrop of 1992 Peru is nothing short of remarkable.
While collaborating on “Reinas,” a production set in 1992 Peru, director Klaudia Reynicke and cinematographer Diego Romero encountered the nation’s volatile political atmosphere head-on. This was particularly evident during the filming of protest scenes on the streets.
Reynicke encountered a challenge when attempting to display communist artworks on the walls: “It’s not feasible in Peru due to the ongoing trauma caused by the Maoist terrorists. Therefore, we needed to devise creative depictions suitable for Europe and apply post-production visual effects,” she explained.
The movie is Switzerland’s submission for the Oscars’ International Feature Film category. It narrates the story of two sisters, Abril Gjurinovic and Luana Vega, along with their family, who are faced with a difficult decision: whether to leave their homeland or stay put following the return of their estranged father, Carlos (Gonzalo Molina), into their lives.
In order to successfully capture the scenes depicting the sisters navigating bustling urban landscapes, Reynicke sought out necessary permits. However, filming in Peru, specifically Lima, presents challenges due to a less developed film industry.
According to Reynicke, we approached the police with our issue, but they merely laughed it off. They seemed to say, “Of course, here’s your permit. But remember, it won’t stop people from entering. People just don’t care.
In 2019, Romero worked with Reynicke on “Love Me Tender” and in 2021 on the show “La vie devant”. Both hail from documentary filmmaking backgrounds. Interestingly, Romero noticed that his method for shooting “Reinas” mirrored many aspects from this shared cinematic history.
Romero explained that they aimed to keep the camera unobtrusive. He emphasized their respect for the actors’ autonomy, allowing them to express themselves freely. Rather than forcing our methods onto them, we adjust to fit their needs. There are no markings on the actors, and we strive to understand the scene intuitively.
Reynicke and Romero often refer to their communication on set as “remarkably intuitive,” a bond so strong that strangers might occasionally mistake their relationship for one of tension or disagreement.
Reynicke mentions that while we may not be warm with each other on set due to our intense focus, we still converse frequently. He also adds that we’ve developed a bond over time in the fictional realm, making the experience enjoyable for both of us.
As a movie critic, I’d put it this way: “I, for one, have had my fair share of amusing moments driving producers up the wall with our unconventional pre-production strategies. Unlike many, we shun storyboarding in favor of shot lists. However, once they get to know us, they reap significant savings as we never overrun on set. Our speed and precision ensure we always know where to go and what to capture.
To evoke the 1990s atmosphere, Reynicke and Romero strategically combined both handheld and stationary camera shots, deliberately steering clear of common cinematic techniques often linked to period dramas.
Romero explains that the strategy for this film was to immerse viewers in the ’90s era without explicitly making a statement about it. In other words, the movie wasn’t intended to appear as if it was made in the ’90s. Instead, they aimed to use modern techniques to transport the audience seamlessly, striving to make the lighting and camera work as unobtrusive as possible.
Beyond just the political backdrop of the movie, Reynicke personally chose to share this narrative for her own unique motivations.
She admits it was likely an instinctive move to return to a country she no longer recognized,” she explains. “I left Peru when I was 10, accompanied by my mom and stepfather, who is Swiss. Despite frequent short visits, I never established long-term residency there. Somehow, I’ve always identified as Peruvian, and at some point in my life, I felt compelled to undertake this project.
Initially, the search began for a place reminiscent of her childhood home, much like her grandmother’s residence.
Reynicke admits that upon her return to Peru after a long time, she became more aware of distinctive aspects, which enriched the details in her storytelling. Yet, she tends to bypass discussing her feelings when it comes to the production process.
Reyncke emphasizes that his focus is entirely on crafting the story to its full potential,” he states. “When it comes time for filming, however, it’s no longer about me. It becomes the movie’s domain, with its unique character, life, and growth involving all my crew and actors.
“Reinas” is currently playing in limited release in the U.S.
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2024-12-10 00:16