The “Antilalos” from April 4 in cinema and soon exclusively in Cinobo

A tender for the echo of those who cling to the soul, for the security that the shelter of those around us provides, for rebellion and vertigo in front of life and what is considered to be data. For adulthood. In the remote Mexican village of El Out of time, children care for sheep and older ones. While frost and drought punish the earth, they learn to understand their parents’ death, sickness and love with every act, word and silence. As director Tatiana Wesso says in her note, “I wanted to tell a story of adulthood, about those markings that are reflected during early childhood. But everything was still very abstract in my mind. My only compass was that I wanted to make a movie about what it’s like to grow up when everything’s new and it’s a surprise and you look at the world from another magical place. This is the period that stores these first moments that mark us for life. And then I watched my daughter grow up every day. It’s a time when certain things come into conflict, the surprises she experiences against many things, the discoveries, the thrill she feels about nature, about a storm, about her cat. These are fleeting moments. And I really needed to love them and guard them. But like I said, it was all very abstract. When I first went to El Eco, I saw the drastic changes in climate and landscape. I knew immediately that this would be the framework that would emotionally accompany children during a year and the cycles of life, sowing and harvest.” “The shooting of Antillalos was a steady process that lasted a year and a half. We went there every three months and stayed for two weeks. We lived with them. So we would eat together, tell us stories, stories of their ancestors, etc. The ties between us were very strong. My daughter came with us. He went to school with the village kids. The children themselves were very concerned. They learned to use the camera and when they saw themselves they burst into laughter and soon became familiar with technical things. Some even used the tap. They asked us: ” Am I in the middle of the frame? They even began making suggestions: “It looks better this way”. When the lights were on, they knew they had to stand where the light was best. They were very aware of the camera’s presence. It doesn’t seem in the movie, but they did. But at the same time the camera was becoming something organic, it was not an obstacle to the development of actions or scenes”, it then refers to its note. “It’s the first film I’ve made without a script. Before filming starts, I usually know the dramatic structure, where the climax will be, what is the main conflict, who are the characters, etc. The script is carefully designed to reach a specific moment. But not in this case. Here, everything was a very open process, and very, very difficult. It was the hardest thing I’ve ever done in my life because I felt so insecure. I was very uncertain if this material would be interesting enough and if it had the power to keep a story. And I think that the challenge is right there: to find magic and greatness in the smallest and most common things”, it ends in the note. Scenario – Direction : Tatiana Weso. Photo by Ernesto Pardo. Music : Leonardo Hablum, Jacobo Lieberman. Montage : Lucrezia Gutierres, Tatiana Wesso. Duration: 102’. Country, Year of Production: Mexico, Germany, 2023.