Javier Bellido and Ana Balcázar
Machines. Make noise, it automatically moves in cycles locked in seconds that seem eternal by the cadence. Suddenly, a man.
SINMUTE is a visceral film / nightmare / son Balcázar Ana and Javier Bellido , a pair of Lima novice filmmakers, from the arts.
The human condition that great universe that address artists, since it was considered as such, is the excuse of directors to enter fully into a dream experience and dark. Nothing more rugged than seeing a human being from the inside out.
The alienation is so simple, it is not simply cease to be or come to be something else or have a routine existence. The human condition has reached a metaphysical divide, an inevitable dehumanization. In any case, is the process which makes it complex and engaging.
From this experience we conclude that there is no escape, we are doomed to be spooky, to see and turn everything into a projection of our fears, justified or not. Nobody can give us the love enough to stop being monstrous.
SINMUTE The anonymous protagonist seems to get away with it. Scroll through arid roads, empty streets (which, however, are not inhabited), going back and forth with no apparent direction, locking themselves in an abandoned car. Any place is good to get away from each other same.
Coming home is introduced to a maze, the images evoke situations within the family, dinner, board games, finding in each room a key episode of David Lynch. Thus, the "loved ones" are categorized as archetypes, sinister and silent characters that represent the look sick man, the man who wants to run away, that wants to be what is not, nor can be.
All the memories are denigrated to the status of trauma, "You will always be mediocre," says one of these creatures, figure a tutor or teacher. It seems to be the phrase that started the film. The directors seem to respond "You see that no" with a careful visual treatment (considering the digital format), from whom transcendent film, the bizarre weather Ulmer, Lynch, and of course, the pictorial language in typically communicate filmmakers.
The film takes its own character, impresses his references inherent merit but beyond the formal. There is no story or a particular story. Its strength lies in the simple act of wandering, with no hope of being or appearing, but only appear.
The film does not fit into a genre, but getting close. Looking at times be expressionistic, surreal, heavy metal music video, but to no avail. It remains a strange film, a treat for psychoanalysts, stimulating for digital filmmakers and moviegoers expect from our national local production more than what we have cinemas.
Then an interview with Javier Bellido, a director of the film . kinesthesia: I see SINMUTE many references to Lynch, but samples a personal language, what have been the audio-visual sources of your film?
Javier Bello: Definitely I think there are, but I believe that by two (for Ana and me), those references are unconsciously. We both quite like Lynch's films anyway.
What I can say is that all images have been built under the personal view of each and our need and interest of expressing through images. As know we are both painters, and one of the most important things when you peel it, was able to express our inner world, looking to load the images of metaphors and poetry.
C: What did you expect to achieve with SINMUTE?
JB: Primarily expressed through the images a series of feelings and sensations. Remove, capture these images in my head. All possible means where artistic expressions of interest to me. There are artists who work under a specific idea and that know very well what they want to communicate.
With the film does not seek to communicate something specific, we want to express ourselves as individuals, we work fairly intuitive, the end comes the reflection. On the other hand, I am interested that the viewer learns to see itself, with its own individuality, creativity, with their own world and that managers also sit on the fact that they saw her also create their own interpretations and help us to discover different meanings. Each person is free to find different interpretations according to his own sensibility.
C: Tell me about production details, how long did the filming, what was the mode of production, what was the budget, how many people was made up your equipment, were your friends, hire someone?
JB: Drive about two years, but it was seasonal, as is an independent film we had to take time to coordinate with people who acted, they were all friends of ours who acted voluntarily.
also had many delays. And we relied on things that are not used. When you paint you're just you and the support with the materials he used, however, depended here to start the camera is battery-time actors, whether it is day or night, but the biggest difficulty was having to accustomed to dealing with machines to save and protect what we were filming. The budget for the film I think it might have been approximately eight suns. But the time to make the draft for the manufacture of the DVDs themselves spend two thousand suns. Never hire anyone, the only expenses were props.
C: As a visual artist (curiously Lynch also is), do you think this is a plus for someone who is dabbling in film language ?, in what way?
JB: Definitely yes, because you work with the image and also to the unconscious all the time. C: There are many situations Freud, how premeditated was it?
JB: Like I said a moment ago, in our film, as well as how we express ourselves in art, nothing is "premeditated," it is actually quite spontaneous, it's like trying to listen sharply within.
C: Can you make some progress in your next project?
JB: I think you I can say that narrative is going to be quite similar, because I still continue with a series of similar concerns.
C: How do you see the local film scene? Do you consider that there is a need to move?
JB: More than that, I would say that would encourage people to realize that they must believe in themselves and sent to do things. To create your film, to express what "moves inside." For this is not needed a big budget. You need a camera to record and a machine where they can care for and edit what they shoot. That is all. Now for the digital cameras are not as expensive as years ago you had to get one to roll and was very expensive.
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
