{"id":88293,"date":"2024-10-18T19:41:17","date_gmt":"2024-10-19T01:41:17","guid":{"rendered":"https:\/\/redsemlac.com\/semmexico\/?p=88293"},"modified":"2024-10-18T19:41:23","modified_gmt":"2024-10-19T01:41:23","slug":"detras-de-los-premios-internacionales-la-resistencia-femenina-detras-de-sujo","status":"publish","type":"post","link":"https:\/\/redsemlac.com\/semmexico\/detras-de-los-premios-internacionales-la-resistencia-femenina-detras-de-sujo\/","title":{"rendered":"Detr\u00e1s de los premios internacionales, la resistencia femenina detr\u00e1s de Sujo"},"content":{"rendered":"\n<ul class=\"wp-block-list\">\n<li>Entrevista a las creadoras en el Festival de Cine de Londres<\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Por Georgia Korossi<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a>SemM\u00e9xico\/BFI, Londres, 18 de octubre, 2024.-<\/a> Ganadora del Gran Premio del Jurado de Cine Mundial en Sundance este a\u00f1o, <em>Sujo<\/em> es un poderoso drama de las directoras mexicanas Astrid Rondero y Fernanda Valadez sobre un ni\u00f1o de cuatro a\u00f1os cuyo padre, sicario de un cartel, es asesinado. Criado por su t\u00eda Nemesia en las afueras de una ciudad del centro de M\u00e9xico acosada por los carteles locales, <em>Sujo <\/em>se expone tanto a la vastedad de la naturaleza como al esp\u00edritu nutricio de su t\u00eda, impregnado de un misticismo arraigado en la antigua cultura mexicana.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">M\u00e1s tarde, las circunstancias lo obligan a mudarse a la Ciudad de M\u00e9xico, donde encuentra a otra mentora femenina en la universidad gratuita de la capital: la profesora de literatura Susan. En su determinaci\u00f3n por ingresar a la universidad, su vida se convierte en un contraste impactante con la violencia que se desarrolla a su alrededor, hasta que su primo lo visita, intentando pedir dinero prestado para pagar al cartel. \u00bfLograr\u00e1 <em>Sujo <\/em>escapar del ciclo vicioso de criminalidad que hered\u00f3 de su padre?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Resaltando la cruda realidad de la guerra contra las drogas en M\u00e9xico y los efectos devastadores que deja en la vida de los j\u00f3venes, <em>Sujo<\/em> es la tercera colaboraci\u00f3n cinematogr\u00e1fica de Rondero y Valadez. Es una pel\u00edcula complementaria a su anterior trabajo sobre la migraci\u00f3n, Sin se\u00f1as part\u00edculares de 2020, que fue filmada en el estado de Guanajuato. Para filmar <em>Sujo<\/em>, Rondero y Valadez regresaron a la misma regi\u00f3n, una parte del M\u00e9xico rural que r\u00e1pidamente se est\u00e1 convirtiendo en una de las zonas m\u00e1s peligrosas del pa\u00eds.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><a><\/a><strong>\u00bfPor qu\u00e9 quer\u00edan contar una historia sobre la guerra contra las drogas desde la perspectiva de un ni\u00f1o?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Astrid Rondero: Cuando est\u00e1bamos investigando actores para nuestra pel\u00edcula anterior (Sin se\u00f1as particulares), fuimos a \u00e1reas rurales para hablar con la gente de all\u00ed. Al escuchar las historias de los j\u00f3venes, muchos de ellos hab\u00edan cruzado la frontera hacia Estados Unidos, por lo que ten\u00edan la experiencia de la migraci\u00f3n. Los ni\u00f1os que se quedaron comenzaron a trabajar con los carteles locales de alguna manera, y parec\u00eda que no ten\u00edan muchas oportunidades. As\u00ed que, en ese momento, le dije a Fernanda que estos chicos que eleg\u00edan la migraci\u00f3n para mantenerse fuera de los carteles, o que se quedaban y se convert\u00edan en parte de eso, es una historia muy interesante. Y as\u00ed naci\u00f3 la historia de <em>Sujo<\/em>.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><a><\/a><strong>\u00bfC\u00f3mo fue trabajar con ellas y ellos?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Fernanda Valadez: Ese fue uno de los mayores desaf\u00edos. Cuando \u00e9ramos m\u00e1s j\u00f3venes y trabaj\u00e1bamos como asistentes de direcci\u00f3n, a Astrid generalmente la llamaban para comerciales o pel\u00edculas que inclu\u00edan j\u00f3venes. As\u00ed que ella ten\u00eda esa experiencia sobre las posibilidades y limitaciones de un ni\u00f1o de cuatro a\u00f1os. Dividimos nuestro trabajo, y Astrid estaba mayormente con los actores, en particular con los ni\u00f1os, ya que era incre\u00edble para construir un mundo imaginario que fuera seguro para que ellos trabajaran. Ten\u00edamos dos guiones para las escenas, uno para los ni\u00f1os y otro para los adultos. Lo que les dec\u00edamos fuera de c\u00e1mara a los ni\u00f1os era diferente de lo que estaba escrito en el guion real.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><a><\/a><strong>\u00bfC\u00f3mo garantizaron su seguridad en el set?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Rondero: Fernanda es originaria de Guanajuato, y la realidad es que esa \u00e1rea est\u00e1 cambiando r\u00e1pidamente. Ya hab\u00edamos filmado all\u00ed antes, y la comunidad ya nos conoc\u00eda, as\u00ed que el elemento clave para nosotros fue encontrar una red de seguridad de personas a nuestro alrededor, junto con trabajar con las autoridades. Fuimos muy cuidadosas al movernos por \u00e1reas que ya conoc\u00edamos. Tuvimos un encuentro triste con un grupo armado, pero tuvimos mucha suerte de contar con el apoyo del gobierno, as\u00ed que todo termin\u00f3 bien.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><a><\/a><strong>\u00bfSe identifican con la historia de <em>Sujo<\/em> a nivel personal?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Valadez: No tenemos esa experiencia de tanta adversidad, y eso es algo que sab\u00edamos que ten\u00edamos que aceptar y usar como un dispositivo narrativo en la \u00faltima parte de nuestra pel\u00edcula. Me identifico por ser de esa regi\u00f3n, por conocer a algunos de los ni\u00f1os y mujeres de la comunidad, y por ver c\u00f3mo este peque\u00f1o pueblo se ha vaciado debido a la migraci\u00f3n o al desplazamiento. Para nosotros, como una generaci\u00f3n mexicana que se convirtieron en adulta cuando la crisis de violencia comenz\u00f3 hace 20 a\u00f1os, es darnos cuenta de que muchos ni\u00f1os que nacieron en esta crisis ahora se est\u00e1n convirtiendo en adultos. Entonces, es una cuesti\u00f3n de c\u00f3mo el mundo se abre o se cierra para un ni\u00f1o nacido en este contexto.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rondero: Lo otro que tratamos de incorporar en la historia son las dificultades para lidiar con tu herencia, algo con lo que me identifico especialmente debido a una figura paterna dif\u00edcil [en mi familia]. Ahora mi padre ya no est\u00e1, pero me identifico mucho con el personaje en ese contexto. Adem\u00e1s, sol\u00edamos ser docentes, por lo que, para nosotros, el significado y el alcance de lo que puedes hacer por un o una&nbsp; joven es importante. Por eso nos relacionamos tan fuertemente con la \u00faltima parte de la historia en la Ciudad de M\u00e9xico.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><a><\/a><strong>\u00bfPueden hablarnos sobre la paleta de la pel\u00edcula y su colaboraci\u00f3n con la directora de fotograf\u00eda Ximena Amann?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Rondero: Conozco a Ximena desde la escuela; hemos estado trabajando juntas por mucho tiempo. El \u00fanico momento en que dejamos de trabajar juntas fue con la pel\u00edcula anterior, Sin se\u00f1as particulares. As\u00ed que para nosotras es casi instintivo comunicarnos. Trabajamos en un <em>storyboard<\/em> una semana antes de filmar, y eso realmente ayud\u00f3. Por ejemplo, ten\u00edamos un calendario lunar para filmar con luna llena. No quer\u00edamos iluminar con luces el\u00e9ctricas, solo quer\u00edamos electricidad b\u00e1sica para ciertas cosas. Creo que, para Ximena, la experiencia m\u00e1s interesante fue algo que Fernanda y yo aprendimos en nuestra pel\u00edcula anterior: encontrar un equilibrio y trabajar con el menor equipo posible, pero con el mayor tiempo disponible, para tener suficiente margen para tener un mal d\u00eda y luego volver a reunir las escenas.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><a><\/a><strong>\u00bfQu\u00e9 tan importante fue incluir a personajes femeninos fuertes, la t\u00eda de <em>Sujo<\/em>, Nemesia, y su maestra Susan?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Valadez: Creo que as\u00ed ha sido en M\u00e9xico: la resistencia a la violencia en las comunidades est\u00e1 siendo liderada por mujeres, las madres y hermanas de personas desaparecidas. Se convirtieron en activistas al buscar a sus seres queridos y darse cuenta de que no solo est\u00e1n buscando a sus hijos o hermanos, sino a todos los hijos y hermanos. Su participaci\u00f3n activa en la resistencia contra la violencia se ha convertido en un gran movimiento en M\u00e9xico, y quer\u00edamos honrar eso. De la misma manera, tratamos de expresar que la educaci\u00f3n que <em>Sujo <\/em>recibe no es solo intelectual. Por supuesto que es importante ir a la universidad, pero es a\u00fan m\u00e1s importante que la educaci\u00f3n espiritual y emocional que recibe de su t\u00eda le permita ser una persona amorosa y abierta al mundo.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><a><\/a><strong>\u00bfPor qu\u00e9 eligieron un entorno rural para la infancia de <em>Sujo<\/em>?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Rondero: Una de las cosas que encendi\u00f3 nuestra imaginaci\u00f3n fue el \u00e1rea en la que se ambient\u00f3 la pel\u00edcula. Es una zona antigua con muchos vestigios de culturas anteriores. Hay mucha energ\u00eda [all\u00ed]. Quer\u00edamos que el personaje de la t\u00eda Nemesia estuviera arraigado a la tierra. Ella es como la l\u00edder espiritual de <em>Sujo<\/em>, su cuidadora, quien le ense\u00f1ar\u00e1 valores morales, su conexi\u00f3n con la tierra y el misticismo del mundo. Eso es algo que tambi\u00e9n exploramos en nuestra pel\u00edcula anterior, que tenemos esta terrible violencia en M\u00e9xico, y a veces es dif\u00edcil ver que esto sucede en lugares tan hermosos.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Valadez: Y como la historia de la infancia de <em>Sujo <\/em>se cuenta de manera epis\u00f3dica y abierta a todos los misterios del universo, no quer\u00edamos expresarlo de manera descriptiva. Quer\u00edamos usar una forma metaf\u00f3rica que est\u00e9 relacionada con el esp\u00edritu de su t\u00eda. Sentir que hay cosas m\u00e1s reales de lo que pensamos, m\u00e1s concretas que nuestra vida material diaria.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Traducci\u00f3n: Sebasti\u00e1n Piz\u00e1 Ruiz<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Versi\u00f3n en Ingl\u00e9s<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a><\/a><strong>How we made our drug-war drama Sujo: \u201cMany kids born into this crisis are now becoming adults\u201d<\/strong><\/p>\n\n\n\n<h1 class=\"wp-block-heading\"><a><\/a><strong>Identifying Features filmmakers Astrid Rondero and Fernanda Valadez tell us about their latest drama Sujo, which follows a boy seeking to escape cycles of violence in rural Mexico.<\/strong><\/h1>\n\n\n\n<p class=\"wp-block-paragraph\">SemM\u00e9xico\/BFI, London, 18 of october, 2024.-Winner of the Grand Jury Prize for World Cinema at Sundance this year, Sujo is Mexican directors Astrid Rondero and Fernanda Valadez\u2019s forceful drama about a four-year-old boy whose cartel gunman father is murdered. Raised by his Aunt Nemesia in the outskirts of a city in central Mexico that\u2019s plagued by the local cartels, Sujo is exposed both to the vastness of nature and to his aunt\u2019s nurturing spirit, which is infused with a mysticism rooted in Mexico\u2019s ancient culture.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Later, circumstances force him to move to Mexico City, where he encounters another female mentor at the capital\u2019s free university: literature teacher Susan. In his resulting determination to enter university, his life becomes a striking contrast to the violence unfolding around him \u2013 until his cousin visits, attempting to borrow money to pay the cartel. Will Sujo escape the vicious cycle of criminality that he inherited from his father?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Highlighting the stark reality of Mexico\u2019s drug war, and the scarring effects that it leaves on the lives of young people, Sujo is the third feature collaboration by Rondero and Valadez. It\u2019s a companion film to their earlier film about migration, 2020\u2019s Identifying Features, which was filmed in the state of Guanajuato. To film Sujo, Rondero and Valadez went back to the same region, a part of rural Mexico that\u2019s rapidly becoming one of the country\u2019s most dangerous regions.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><a><\/a><strong>Why did you want to tell a story about the drug war from a child\u2019s perspective?<\/strong><strong><\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Astrid Rondero:<\/strong> When we were researching actors for our previous film [Identifying Features], we went to rural areas to talk to the people there. From hearing the stories of young people, many of them had crossed the border to the US, so they had the experience of migration. The kids that stayed started working with the local cartels in some capacity, and it seemed like they didn\u2019t have many chances. So, at that point I told Fernanda that these kids choosing migration to stay outside of the cartels \u2013 or staying and becoming part of that thing \u2013 is a very interesting story. And that\u2019s how the story of Sujo was born.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><a><\/a><strong>What was it like working with them?<\/strong><strong><\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Fernanda Valadez:<\/strong> That was one of the greatest challenges. When we were younger and working as assistant directors, Astrid was usually called for commercials or films that included young people. So, she had that experience of the possibilities and limitations of a four-year-old. We divided our work, and Astrid was mostly with the actors, particularly with the kids as she was amazing in building an imaginary world that was safe for them to work in. We had two scripts for the scenes, one for the kids and one for the adults. What we said off-screen to the kids was different than what was written in the actual script.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><a><\/a><strong>How did you ensure their safety on set?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Rondero<\/strong>: Fernanda is originally from Guanajuato, and the reality is that area is changing quickly. We\u2019d filmed there before, and the community already knew who we were, so the key element for us was finding a safety net of people around us alongside working with the authorities. We were very careful to move around areas that we already knew. We had a sad encounter with an armed group, but we were very lucky that we had the support of the government, so everything ended up being okay.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><a><\/a><strong>Do you relate to Sujo\u2019s story on a personal level? <\/strong><strong><\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Valadez<\/strong>: We don\u2019t have that experience of such adversity, and that\u2019s something that we knew we had to accept and use it as a narrative device in the last part of our film. I relate by being from that region, of knowing some of the kids and women in the community and how this little town has become empty because of migration or displacement. For us, as a generation of Mexicans who became adults when the crisis of violence began 20 years ago, it\u2019s realising that many kids who were born into this crisis are now becoming adults. So, it\u2019s a question about how the world opens or closes to a kid born in this context.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Rondero<\/strong>: The other thing that we tried to enter in the story is the difficulties dealing with your inheritance, which is something that I especially can relate to because of a difficult father figure [in my family]. Now my father is no longer here, but I really relate with the character in that context. Also, we used to be teachers so, for us, the meaning and the scope of the things you can do for a young person is important. That\u2019s why we relate so strongly with the last part of the story in Mexico City.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><a><\/a><strong>Can you tell us about the film\u2019s palette and your collaboration with director of photography Ximena Amann?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Rondero<\/strong>: I know Ximena from school; we\u2019ve been working together for a long time. The only moment that we stopped working together was with the previous film, Identifying Features. So, it\u2019s second nature for us to communicate. We worked on a storyboard a week before shooting, and that really helped. For instance, we had a lunar schedule so we could shoot at full moon. We didn\u2019t want to illuminate with electrical lights, we wanted just basic electricity for stuff. I think that for Ximena, the most interesting experience was something that Fernanda and I learned from our previous film: to have a balance and work with as little equipment as we can, with as much time as we can, to allow enough time to have a bad day and go back to get the scenes together.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><a><\/a><strong>How important was it to include these strong female characters, Sujo\u2019s aunt, Nemesia, and his teacher Susan?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Valadez<\/strong>: I think that\u2019s the way it\u2019s been in Mexico: the resistance to violence in the communities is being led by women, the mothers and sisters of disappeared people. They became activists by looking for them and realising that they\u2019re not just looking for their sons or brothers, but for all sons and brothers. Their active participation in the resistance against violence has become a big movement in Mexico, and we wanted to honour that. Likewise, we tried to express that the education Sujo receives is not only intellectual. Of course it\u2019s important going to the university, but it\u2019s even more important that the spiritual and emotional education he gets from his aunt allows him to be a loving person and open to the world.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><a><\/a><strong>Why did you choose a rural setting for Sujo\u2019s childhood?<\/strong><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Rondero<\/strong>: One of the things that ignited our imagination was the area that the film was set. It\u2019s an ancient area with a lot of vestiges of previous cultures. There\u2019s a lot of energy [there]. We wanted to have the character of Aunt Nemesia rooted to the earth. She is like the spiritual leader of Sujo, his nurturer who will teach him morals, his connection with the earth and the mysticism of the world. That\u2019s something that we also explored in our previous film, that we have this terrible violence in Mexico, and sometimes it\u2019s difficult to see that this is happening in such beautiful places.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Valadez<\/strong>: And because the story of Sujo\u2019s childhood is told in an episodic way and open to all the mysteries of the universe, we didn\u2019t want to express that in a descriptive way. We wanted to use a metaphorical way that\u2019s related to the spirit of his aunt. Feeling that there are more real things than what we think, more concrete than our daily material life.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">SEM\/BFI<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Por Georgia Korossi SemM\u00e9xico\/BFI, Londres, 18 de octubre, 2024.- Ganadora del Gran Premio del Jurado de Cine Mundial en Sundance este a\u00f1o, Sujo es un poderoso drama de las directoras mexicanas Astrid Rondero y Fernanda Valadez sobre un ni\u00f1o de cuatro a\u00f1os cuyo padre, sicario de un cartel, es asesinado. Criado por su t\u00eda Nemesia [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":88294,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[694,53],"tags":[],"class_list":["post-88293","post","type-post","status-publish","format-standard","has-post-thumbnail","category-destacadas","category-internacional"],"_links":{"self":[{"href":"https:\/\/redsemlac.com\/semmexico\/wp-json\/wp\/v2\/posts\/88293","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/redsemlac.com\/semmexico\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/redsemlac.com\/semmexico\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/redsemlac.com\/semmexico\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/redsemlac.com\/semmexico\/wp-json\/wp\/v2\/comments?post=88293"}],"version-history":[{"count":0,"href":"https:\/\/redsemlac.com\/semmexico\/wp-json\/wp\/v2\/posts\/88293\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/redsemlac.com\/semmexico\/wp-json\/wp\/v2\/media\/88294"}],"wp:attachment":[{"href":"https:\/\/redsemlac.com\/semmexico\/wp-json\/wp\/v2\/media?parent=88293"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/redsemlac.com\/semmexico\/wp-json\/wp\/v2\/categories?post=88293"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/redsemlac.com\/semmexico\/wp-json\/wp\/v2\/tags?post=88293"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}