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An Exploration of the Human Relationship with Space: An Interview with Mariano Rentería, Director of ODISEA NACIONAL

When we think of a place, various sensations come to mind: an emotion, a smell, a sensation of temperature, or a sound. These connections occur unconsciously and are related to the space around us. In his new film, Odisea nacional, Mariano Rentería explores the different ways we can relate to space.

We had the opportunity to speak with the Morelia-based filmmaker during the 24th Morelia International Film Festival (FICM) about his vision and motivation for making this documentary.

FICM: While watching the film, I thought a lot about the classic cinematic shot used to introduce New York City: the skyscrapers at dawn as George Gershwin’s Rhapsody in Blue plays. Were you looking for a symphonic exploration of architecture? The film gives the impression of being a kind of total work of art in which image, sound, and space engage in a dialogue.

Mariano Rentería: Yes, absolutely—your observation is spot on. In general, the film's intention was to create a structure similar to a dance. I conceived that structure as a waltz in which the camera floats and flies through the spaces. It appears as though the spaces are connected even though they have nothing to do with one another. That’s why I wanted to start it that way—to establish from the very beginning that we’re going to see something in constant motion, something that isn’t fixed. It was also important to highlight the human machinery—these groups of people who organize themselves to build something—which is the foundation of architectural design and everything around us. I’m glad you picked up on that dance-like quality. It was very important to establish it right from the start.

FICM: Tell me a little more about the music production process. I understand that Diego Lozano was in charge? How involved were you in the musical development—or did you let him handle it entirely?

Mariano Rentería: The film features original music by Diego Lozano, but there are also three reference pieces that were very much on my mind: one by Ravel, another by Murcof, and a third by an English saxophonist, Benedict Hesketh. These three pieces, along with Diego’s composition, accompany the film throughout and are its foundation.

I worked with Diego using specific references. I’m a huge music lover and enjoy all kinds of music, and I like the idea of collecting it. In my personal collection, there were pieces that reminded me of my previous project, and we used them as a starting point. Diego identified the instruments used in those pieces and began composing around them. It all had a lot to do with the sound of each instrument: harps, out-of-tune pianos, and very specific synthesizers from the ’70s and ’80s. He gradually built upon that foundation to give the music the texture, color, and diversity required by the different spaces and themes that the film explores.

FICM: Speaking of spaces, I was also thinking about how this work engages with themes present in your earlier pieces, which explored people’s relationships with the movie theaters in Morelia that no longer exist. Where does your interest in physical space—and in how it shapes social relationships—come from?

Mariano Rentería: My interest in space began from a more ethereal or spiritual perspective; it’s the same feeling you might experience when coming into contact with the divine or the sublime in art. From there, I began to explore the subject. There’s a book called *Atmospheres* by Peter Zumthor that examines how spaces connect us to an almost existentialist sensation. However, I realized that space not only evokes this sensation in us, but also shapes and constitutes us psychologically.

The film features a sequence with photographs of massive, large-scale housing developments. These social housing projects, built on the outskirts of cities and completely isolated, have a direct psychological and social impact on those who live there. These issues gradually built upon my initial mystical idea. The film maintains that ethereal quality surrounding spaces, but adds other dimensions: the social, the artistic, identity, and even the military. It addresses hierarchical or geometric structures, such as the design of a mosque, where the architectural function is to connect the believer with the idea of God. None of this is arbitrary, it is designed by humans to connect with very profound ideas.

FICM: Finally, Mariano, what do you hope viewers will take away after exploring these spaces through your camera?

Mariano Rentería: I’d hope it would be an encounter with observation. I’d like people to leave the film with a renewed interest in looking at their surroundings, observing them more closely, and feeling them. I also hope it helps us distance ourselves a little from what’s overwhelming us all today: the disconnection caused by social media, the internet, and digital immediacy. I feel that these things are increasingly distancing us from a deep or sensitive observation of our reality. I’d like viewers to be able to reconnect with the everyday—with the things we normally don’t notice—and for the film to invite them to pause and let themselves be carried along by the flow of time.