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Jimena Montemayor speaks exclusively about his film, winner of the Best Feature Film Prize at the 21st edition of the Guanajuato International Film Festival.
He wakes up in the middle of the night, goes to the living room of his house and finds a terrifying but curious picture: there is a humanoid creature, covered with Apache skins, feathers and horns gigantic. The monster with the appearance of a Native American myth is invisible to the rest of the family, but it is one of the key images of Rest of the Wind the film recently won the 21st International Guanajuato Film Festival, directed by Mexico Jimena Montemayor .
The film, which also won major awards at its premiere in the past Guadalajara International Film Festival (Best Mexican Film, Best Achievement, FIPRESCI Award), was presented to the once in San Miguel de Allende and in the capital Guanajuato as part of the meeting, where he triumphed in the Mexican fiction contest. It is the second film of Montemayor, who worked as a cinematographer until his first film In the Blood (2012).
"It was really fascinating to have won all these prizes with us," says the director. remember his first ending in Guadalajara. "The day we arrived at the FICG, the industry was already up, it was hammering the whole market because everything was missing, so our first projection was soulless." There was almost nobody, I did not know that the jury had to leave just finished a projection, then I saw people going out and I said: "Hey, do not go away please!" ( Laughs) We pbaded as in the shadow, so it's an absolute surprise that they gave us all these awards, that the young jury and the FIPRESCI jury were very kind. "
With fantastic shades inspired by the legends of the Navajos – the largest Amerindian population -, Rest of the Wind follows Carmen, (Argentina Dolores Fonzi, in her first Mexican project) a mother who refuses to accept the death of her husband. His grief paralyzes her and prevents her from taking care of her children, whose director uses the process to show grief through the child's gaze. Above all, the director – with her director of photography, Maria Secco – visualizes how complicated it is to share something as individual as the duel.
"I write with images." It was a very atmospheric script.There was a lot of work in the atmosphere of mourning.I feel that sorrow strikes you depending on how you I needed these three characters because there are different ways to deal with emotions.This is a mix of atmosphere and personalities.I think that's a good thing. there is no way to make a duel, says Montemayor.
According to the director, the scriptwriting process was long, during which he also experienced a loss: his father and two children of his family They are dead, so the film is also a bit autobiographical when it comes to the experience of family pain. "Carmen's problem is the resistance to feeling that, resisting to feel that pain, that frustration. If you resist, this will generate more pain and less evolution. You must say yes I am sad and it hurts me and I have the right to continue to hurt myself even if the time has pbaded. I think you should enter the process with an open heart. For me, my death process when I managed to go out became a very strong life process. "
Located between the 50s and 70s, Rest of the wind is nurtured by the mythology of the Amerindians , full of concepts such as healing by acceptance and restless spirits. "Native American mythology was from the beginning," he says. "First it started as a story of the times . I had used to see family albums. At that time, these individuals were very present in the game: Indians against cowboys, El Zorro. But then it evolved because I started reading more about Navajo legends and I thought they were so specific about what was happening to my characters: when you accept that something hurts, start your healing. Or the concept of singing: the Navajos heal singing and for me, Carmen had to sing to heal. Also the idea that if you do not accept it, the mind can not rest. Then the same movies start to move by themselves, it was as if she was asking me this mythology. "
Highlights the photography of Secco, winner of the Ariel for his work in The Golden Cage and to whom Montemayor has known since they've studied together." Their preparation and their experience as filmmakers allowed them to collaborate more closely and more effectively on set, able to tell a story through images. "I started studying film as a director and then as a photographer because I wanted to speak the same language. I have developed excellent communication with Maria and my previous photographer. A subtle and very detailed communication. That's how we were able to build an atmospheric and imaginary world that was not just there to "be beautiful," you know, but it's pure visual communication, "Jimena says.
Up to here, Rest of the Wind has no date of premiere in Mexican commercial theaters.
Jessica Oliva [19659021] Journalist, film editor PREMIERE and frustrated ballerina in her free time. Taste of cinema, literature, tango, useless data and the possibility of staying awake to do everything.
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