SYNOPSIS

Natalia is a young Spanish woman who arrives in Mexico City, invited by Esteban, her boyfriend. However, due to work, he is absent. His Mexican friends suggest that she relax, and join them for a weekend out of town. Between games and excess, they become involved in a series of events that will lead to acts of irreversible violence.

STILLS

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CONFESSION

For me, cinema has been, is and will be a school, a friend, a teacher, a companion, a lover, an accomplice; I could narrate my life in terms of movies I have seen that have transformed me. For me, cinema is the most complete and complex form of artistic expression. My entire life has been linked to cinema, and even my visual works are directly related to it. Perhaps, due to my great respect for cinema, it is not something I felt I could do.
I am making this movie because I feel that I have reached a dead end in visual arts, which have lost the playful sense that they once held for me. I am at a loss for motivation, feeling the need for new creative challenges, movement into different realms, the exploration of untouched forms and languages.
Cinema is that place where I wish to head.
I am making this movie as a means to explore issues that have always fascinated me (violence, its origins and irrationality; structures of power and gender roles). I am confident that through moving images and a narrative in the cinematographic format, I will be able to explore these matters thoroughly. I know that this is the best, indeed the only means to cause viewers to question and reflect upon issues that have been central to me throughout my life.
I am making this movie in order to play and experiment with everything that I have learned about movies and art; it is my desire to rekindle my romance with artistic creation.
I am making this movie because I wish to pose a new form of working in film and making movies, establishing my own rules, only then to break them.
I am making this movie from a deeply personal desire to make it, because it is born deep within my insides.
The moment has arrived. I have found the story I wish to tell, and I know how to tell it.

Artemio.

MANIFESTO

The main character is violence: the story is merely our guide to its in-depth exploration. Gender roles and power structures are central to the concepts that emphasize the nature of violence (the brutality which I aim to investigate and analyze in this cinematographic game). The actors will be in character at all times. The idea is to suggest the topics for discussion, and that scenes be carried out based directly on the reactions that the characters might have at the time of the action. To achieve this, there will be a profound development of the characters and their timeline as the story unfolds. Dialog will not be written beforehand; but as the issues to be discussed in each scene arise, it will develop naturally according to each role.
Although there is a step outline, a list of shots and scenes, there is no iron-clad script. All those involved can participate in the narrative's development, enriching the storyline, with all respect for the director's decisions which are final. There will be neither an art nor a costume director; we will proceed as in a theatrical montage, where each actor is aware of his or her costume and movements onstage. Action will flow within the pre-determined spaces, allowing us to waste less time on details whilst investing in the strength and power of each scene. When costume changes are required, each actor will be aware of what to wear; in the same manner, actors will be responsible for their own makeup. What is critical is that all actors feel truly comfortable and connected to their characters, and consequently each will be responsible for their own creation. Locations will be found and used as-is, and only props vital for the action and storyline will be used. A single person will be in charge of all props and costumes. The crew will be as small as possible, allowing us to work with the utmost intimacy, obtaining the most from each character and generating a better interaction amongst the work team. All members of the crew will be perfectly informed of their functions, allowing work to be more agile.
No original music will be composed for the movie. Certain songs support certain scenes, but they are a part of the action's development and the context of the story, songs that play on the radio, in bars. Where music is not justified, there will be ambient sound, the day-to-day sounds of the streets and spaces. Drama and tension will consequently depend on the situations posed and the manner in which they are depicted. The camera is a silent witness.

THERE WILL BE NO SUBJECTIVE SHOTS.

The idea is to establish a certain distance from the action, providing room and distance for the spectator to reflect. The camera is not there to follow any of the characters, who enter and depart from the frame without the camera being forced to follow them. Photography is not there to generate artifice or in any other way to force situations: it is not a protagonist.
Editing will be a part of the process, with the editor overseeing both script and continuity. Inasmuch as possible, the film will unfold in a chronological order, with the story developing naturally for the protagonists.
The Director is the guide of the game, the conductor along the film's path, rather than the absolute master. He must be open to suggestion, whilst nonetheless remaining in charge of setting and defining limits.

El LLanero Solitario

Merced Gómez #11 Apt. 113
Col. Mixcoac, C.P. 03910,
México D.F., México.
(+5255) 6383 9585


Contact me:
artemio007@gmail.com