Jayro Bustamante: “For Hollywood, Latinos are not just consumers of telenovelas, football and narcotics” | Culture

No es La llorona who faced. The last movie of Jayro Bustamante (Guatemala, 1977) from a giro to one of the most popular legends known to counter the horrors of the genocide perpetrated in his country at the beginning of the years: Decades, if not hundreds of miles and deaths of indigenous peoples will be killed, through a civil war that is extinguished for four decades. In the line between what can be done and what can be recorded, between what is paranormal and what is real, a general law will be made of the legal consequences of its actions, but not of the justice of the people or of the spirit that the atormentarán has his last days.

Tras was nominated for the Globe of Gold and selected as a finalist in the Oscars, Bustamante was on the phone about an unprecedented opening of Hollywood to Central American cinema, from which he converted the magic realism into a battle cry, and his intention to transform the grand slam in an escape vale for a historic region marked by violence, murder and repression. This is a condensed and edited version of its articles.

Pregunta. Can it be imagined that his movie will have its impact?

Respuesta. Sincerely, we do not imagine what we are going through. Although we do not work for the premiums, we work to tell a story. And when this time comes, we have a lot of allegiance and surprise. I believe it is important not to be overwhelmed with emotion, it is with intelligence for what it is momentum no se nos pase. Digo is not only for me, but for all the filmmakers of the region. We understand that this is happening, that we have a great deal to do, and that we are preparing. I believe that when we read the great opportunities in Central America, we will have to demonstrate that we can. And now we have demonstrated that we can.

P. What is the point of Guatemala’s cinema?

R. In Guatemala we will produce a media in the year of four films. Eso is very, very little. But if we take as an example the past year, of these four films, a stage in Cannes and won the Cámara de Oro. Another event in Venice and the Venice Day prize is won [La Llorona]. There is another movie in Berlin. We are really looking for an exhibition and it is very important.

This is a move that is one of the most popular in Hollywood and has a Latin accent. By the way, we are not only consumers of telenovelas and football, and we are following the line of being only consumers of drug stories. We can also count other types of stories. I believe that there is a moment when we believe that this is something that will help us to develop an industry. It’s a job that no one imagined I had to talk to, but in the end there was a lot of satisfaction, different from the premiums, the economic and the rest of the things we knew.

P. Much of what Central America knows about fires. How does it matter that it is important to tell this story with a vision of Guatemala?

R. I do not believe much in the fronts or in the limitations of this type. I believe that creativity has the capacity to transform and that the points of view are even more diverse and interesting. Agradezco has a lot to do with all the directors and periodicals that he knows about us, but in some way our responsibility is against ours. We are a region that is open to poverty, a society that requires us to remain silent. What I like most is that there are people who love their little ones. So I want to make sure that the next generation will have less time and will be able to do more.

P. Coming up with the idea of ​​counting one of the blackest episodes in Guatemala’s history with the end of La llorona?

R. Ghana was a communist movement as an insult to the country and the deformations of that insult. In Guatemala, the communist is the only one of the State and also uses against the defenders of the human rights. When you can think that in Guatemala there is an insult, you can expect a genocide to happen in the country. I have to deal with the genocide, the impunity, the death of the juices [sobre esos crímenes].

All these things I invite you to create a fiction in which the powder has a communal catharsis, a space where our powders invent a justice grit. I believe that it is very difficult for the local audience to accept it, so it is important to follow the traditional way of telling stories when its stories last: in the fantasy, the stories of hatreds or the legends. Ahí me agarré a La llorona.

The horror was a very logical way of dealing with a genocide. Después el challenge it would be more difficult to do that the horror of horror does not concern the horror of genocide and it is the balance that we have to make in order to have more of a magic realism and less of a horror horror movie.

P. The hecho of the magical realism unfolds a form of hacer justice ante the impunity has some fantasy and desperance at the same time …

R. For me it is the reflection of what we hold. As tenemos Estados protectores ni Estados de justicia, es lo que nos queda com recurso. It’s clear that he’s a desperator. At the same time, magic realism and psychomagia are chambers that we do not abandon. The rituals serve a lot for the human being, to make personal cataracts or to make psychological remedies, but if only we do so, we will follow them.

P. Mucha gente escucha La llorona and imagine the typical Hollywood movie of terror. Is this preoccupation?

R. I do not think so much that the person has to imagine. Think more about what you want to change to La llorona. Queria acknowledges the machismo to the end, which is new because the Mesoamerican versions are not based on it. Quería cambiar el hecho de que La llorona in the other always represents like a monster, when in reality it is a Mesoamerican princess. Of course, female monsters are always more monstrous than male monsters, including Satan, who is represented as a great knight in the cinema. No digamos Drácula. Quisimos traer a La llorona with the image of a woman justifying, digging, with weight.

P. In the movie, the culprit is the military. In reality, is there a fault among the elites for what happened?

R. Completely. It is a culprit that has been transformed into a distortion of values ​​and in a form of negation to the victims of supremacy. There are many military elites who are not comfortable with this, but if we are in the traditional and general way, then it is said that everything is worth killing. And here, socially, we are subject to discrimination, which is much more serious, and to the meritocratic system, in which we believe that the people are iodine because they are merciful and that the people are the ones because they are merciful. No es cierto. The people are iodine because the permits are a place of action. It is a space for reflection that we desire to plant in the pelica.

P. Did the trade retaliation tell this story?

R. At the beginning, when we are going to film, we will create a species of anonymous ads or advertising tips, but now no. I’m tenemos miedo. It is ours in us: the help of repression. También is the white side of many insults. There are women who believe that the communist or Izquierdista is an insult. Many times he has tried to explain that communism is one of the political ideas that diminishes me, because I do not draw the totalitarian ideas.

P. The idiom kaqchikel is one of the great protagonists of its movies. What did you decide to give this impulse to?

R. Off La llorona usosos dos lenguas mayas: el ixil y el kaqchikel. The ixil, because of the ethnicity most affected during the armed conflict. El kaqchikel, because you created a kaqchikel community. Mi abuela era kaqchikel. I have very important issues with the community. By some means, it includes because it’s the language in which I feel safe. Its official idioms in our country, but there are no spaces and hopes that visibilityists contribute to destroying the order of our origins, which we all renounce.

P. Have you ever considered the taste buds that occur in the nearest Globes de Oro?

R. Geen le quiero echar la sal (risas). When I think superstition and religion are soy.

P. Is Cambia algae what happens during the pandemic?

R. Sí. For me the cinema is everything, but I can not anticipate my journey to the general well-being. It’s that hay and with it hay haremos lo mejor que podamos.

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