WINNERS X-RAYS - 7º FICM
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Alejandro Gerber
Age: 32
Birthplace: Mexico City
Film: Vaho
Award: Honorable Mention, Mexican Feature
By: Clara Sánchez
Translated by: Carlos Garza
About Vaho:
The title: It comes from the myth of the gods who blow mist in the eyes of humans, which explains why they can't see clearly.
The Challenge: We had a lot of support from the district where we shot: the local authorities for instance, and the comittee that organized the Passion of the Christ. One of the most difficult things was getting permission to shoot at the school, but we got assistance even with this. It was more complicated to deal with the prejudices of the crew about filming in the district of Iztapalapa, which has such a bad reputation, but all things considered we were a really young crew and we approached the locals not as intruders but respectfully, always asking their permission. The shoot became quite an event in the end.
Motivation to tell this story: To explore the relationship of three young men who were childhood friends and now find themselves at the end of their adolescence. They are not heroes and are not called to any grand adventure, but are starting to take charge of their lives and making mistakes just like the rest of us. They are united by the idyllic memory of their childhood which allowed us to sketch a portrait of this particular part of the city and explore how it became the mess it is today. Experience in Morelia: I was really surprised by the reaction from the audience and the press. It really surpassed my expectations.
Audience reaction in Morelia: People were very appreciative of our attempt at a realist portrayal, which is basically what we set out to accomplish. This is the type of comment I've heard the most and it really surprises me.
What's next for the film: We still don't have a distributor but the film will go to Rotterdam because we had the support of the Hubert Bals Fund. We'll also have a screening in January at the MoMA in New York thanks to the support of the Global Film Iniciative which bought the distribution rights for the U.S. and Canada, not for a commercial release but for an academic circuit at museums and cultural centers in 35 cities. I also want to submit to other festivals and see more audience reactions. We're worried about finding distribution in Mexico.
In short:
What does it mean to have won an Honrable Mention in Morelia?
It was a very pleasant surprise which opens up new possibilities for the film. People certainly guage a film differently if it has received recognition from an important festival. Their reaction tends to be more calculated and less visceral. Film is a visceral medium and people dismiss other people's work very easily. An honorable mention can certainly legitimate your work.
How did the script come about?
For two and a half years I took a series of workshops with professionals such as Marina Stavenhagen, I won the IMCINE's screenwriting competition and had the support of Silvia Pasternac and Vicente Leñero. I also participated in the Proa residency program for the development of first features in Argentina along with five Argentines and one filmmaker from Central America (I was the only Mexican). Additionally, I had the opportunity of developing the project long-distance with filmmakers such as Jorge Goldenberg, Rodrigo Moreno, and Diego Dubcovsky who have a very distinct way of approaching the filmmaking process.
This is a very masculine story. How difficult was it to approach?
The characters were very clear to me from the beginning. The events and the structure changed somewhat, but never their essence. The premise was also clear: three teenagers trying to come to grips with becoming men in this society. The reenactment of the Passion of the Christ in Iztapalapa is, among many other things, a representation of masculinity.
Was complicated converging the pre-Hispanic and the catholic religiousness? 

This syncretism is built into Iztapalapa. There was even a moment when I tried to cut the Passion out of the story but, I wound up incorporating it documentary-style. The pre-hispanic elements also stem from this region of lakes, this lost paradise that was once home to the Aztec warriors we see represented in downtown Mexico City, revindicating an idylic past and trying to reclaim a lost identity. You see a lot of this in Iztapalapa and I approached it seriously.
To find out more go to Vaho.
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