With ‘Sujo,’ Astrid Rondero and Fernanda Valadez set out to make a different kind of narco film
As a film enthusiast and someone who deeply appreciates the power of cinema, I find myself profoundly moved by the stories and journeys of directors like Fernanda Valadez and Kaara Sofía Gascón. Their work, particularly “Sujo” and their upcoming collaboration with Selena Gomez and Zoe Saldaña, stands as a testament to their unwavering commitment to authentic storytelling, empathy, and social justice.
The teenager who lost his father, a hitman, in the movie “Sujo” wonders if it’s possible for people to transform. This gritty, yet subtly optimistic Mexican social drama is currently competing for the Best International Feature Film award at the Oscars.
As a film reviewer, I found myself deeply moved by the poignant exchange between a university professor and a boy from Michoacán, who had ventured into the bustling city. This interaction, filled with raw emotion and sincere curiosity, resonated profoundly with me as it mirrored the hopes and doubts of many souls living in a nation grappling with the devastating effects of drug warfare. In this powerful scene, they meet for the first time, the young protagonist Sujo, having left his rural village behind, embarking on an uncertain journey in Mexico City.
In a departure from his usual romantic ballads, Latin Grammy winner Luis Fonsi takes on the lead role in the independent romantic comedy titled ‘Say a Little Prayer.’
Can Mexico become something different, away from the vicious claws of its present woes?
In their latest project, life companions Astrid Rondero and Fernanda Valadez aim to discover an alternative route. Through this new endeavor, they delve into possibilities of what such a path could be.
In a simpler, more conversational rephrasing: “Valadez, speaking from his home in Mexico City via Zoom, points out that while it’s important to acknowledge the difficulties and challenges we face (the ‘horrors’ and ‘looking into the abyss’), we must also focus on moving forward with our lives (getting up every day). So, the question becomes: How do we deal with this reality in a meaningful way?
Rondero and Valadez launched their filmmaking journey amidst Mexico’s drug war, during Felipe Calderón’s presidency (2006-2012). The intense and profound nature of the country’s crisis motivated them to develop stories exploring the personal repercussions on people from the shocking violence they witnessed.
× At present, “Sujo” is showing at various Cinépolis cinemas nationwide. This movie portrays the challenging childhood of a young man striving to avoid following in his criminal father’s footsteps. However, growing up in poverty and with limited opportunities to envision an alternative lifestyle makes this task almost impossible. Yet, his determination to escape the turmoil and seek education transforms this story into one of modest but significant victories that acknowledges the powerful socioeconomic obstacles he faces.
Sujo” is the next film from the directors following their 2020 critically acclaimed feature “Identifying Features” – also penned by them and directed by Valadez. This movie tells the story of a mother whose son vanishes while trying to cross the Mexico-US border, only to be captured by a vicious cartel squad who force him into their ranks.
In both instances, the main troubled teen is portrayed by Juan Jesús Varela, a newcomer to stardom. The directors encountered Varela while he was 15 during the auditions for “Identifying Features.” Over a period of a year, Rondero and Valadez engaged with many young men from secluded rural areas in Guanajuato.
According to Valadez, during our discussions we uncovered numerous accounts of migration – be it to Leon, Mexico City, or Guadalajara, or staying put while joining local drug cartels as young workers.
During that period, Varela – who possesses an outgoing demeanor distinct from the brooding introspection portrayed in his roles within Rondero and Valadez’s cinematic works – was employed as a tour guide.
Rondero remarks, “Fer and I often express that, given a different set of circumstances for these communities’ children, we believe Juan Jesús would have been nurturing his talents in an acting school or pursuing a career in the arts. Regrettably, this is the state of our country.
Months prior to the filming of “Identifying Features,” Rondero had penned the screenplay for “Sujo” specifically with Varela in mind.
As a movie enthusiast, let me tell you, Juan Jesús’ character truly ignites the film – not in a tangible way, for he is unlike Sujo in many aspects. Yet, they both possess an indomitable spiritual resolve that echoes through their actions: ‘Against all odds, I choose to defy the circumstances and carve my own path.’
In their unique method, Rondero and Valadez deviate from the common trend. Instead of incorporating graphic depictions of violence, as many Mexican films do by showcasing the harsh realities of cartel brutality, they choose to exclude such images from their work.
According to Rondero, Mexicans have endured the gruesome reality of violence for many years due to the fact that criminal groups use terror-inducing imagery as a tactic to keep people constantly fearful. For filmmakers, whether or not to depict this violence is more about ethical responsibility rather than artistic preference.
Instead, these narratives delve into the effects on both the wrongdoers and those wronged, steering clear of overly simplistic divisions based on victimhood. This is particularly relevant in Mexico, as many people associated with organized crime are themselves victims – of poverty, government neglect, limited opportunities, or forced recruitment.
Valadez points out that displaying violence doesn’t aid in comprehending it as a human experience. Instead, it fails to illuminate its effects on individuals or society.
This year, Rondero and Valadez agreed to a job proposal from Netflix for the production of the documentary series “Caught in the Web: The Murders Linked to Zona Divas” (available now). This series focuses on an illicit escort service linked to multiple female murders.
Initially shielded by creating fictional stories, their sense of security vanished when, for the first time, they encountered the perilous truth that is familiar to reporters chronicling the ongoing drug conflict.
According to Rondero, when creating a documentary, it’s unavoidable to mention specific individuals and make accusations. He notes that in Mexico, people’s lives are often devalued to such an extent that doing so can easily provoke violent retaliation against the documentarian.
Due to safety concerns related to producing the series, they had to adjust their lifestyles significantly: They employed security personnel and remained vigilant about potential surveillance or stalking.
Rondero remarks, ‘Things are quite disappointing in our nation, I must say, but we continue to be driven. We understand that there’s often a price to pay for our actions, and we stand ready to bear those costs.’
Besides the accounts directly given by young men in Guanajuato, “Sujo” was influenced by the research of journalist Javier Valdez Cárdenas, whose 2015 book, “Huérfanos del narco” (“Narco Orphans”), had a significant impact on the filmmakers. Regrettably, Valdez Cárdenas was assassinated in 2017.
It’s not surprising that they view “Emilia Pérez,” a French musical about a drug lord transitioning genders, as another instance of outsiders trying to understand Mexico. They argue that many renowned films about Latin America are more appreciated by foreign audiences due to their unique perspective – one that festival organizers tend to favor. However, Valadez and Rondero are not targeting these global audiences; instead, they aim to create works that resonate with local viewers.
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Following its daring, award-winning premiere at Cannes, Karla Sofía Gascón, Selena Gomez, and Zoe Saldaña gather for a chat about their exceptional, unique musical production.
According to Valadez, our dedication is both moral and political as we focus on creating movies meant for Mexican viewers, since the topics we address are deeply emotional and timely.
We strive to tackle these issues with genuine compassion and honesty, ensuring our Mexican audience perceives this authenticity.
To date, Rondero and Valadez have gained recognition both domestically and internationally, maintaining their unique perspective throughout their work. Their films “Identifying Features” and “Sujo”, upon their debut at the Sundance Film Festival, received accolades and the former even swept the Ariel Awards – Mexico’s equivalent to the Oscars – taking home 11 awards, including best film, best director for Valadez, and best screenplay.
In their role as a female directing team, they strive to predominantly staff their film crews with women. To them, the personal aspects often intertwine with politics, both on-screen and off-, reflecting their beliefs and values.
Valadez remarks, “Our generation of filmmakers is characterized by powerful voices, and I firmly believe that many of the most influential Mexican directors right now are women. However, this doesn’t imply that the gender balance has been fully achieved.
It’s important to note that their commitment to gender equality did not clash with the process of creating “Sujo”. Instead, they aimed to explore an unfamiliar experience – that of young rural men – as they are more prone to recruitment and violence due to the societal construction of masculinity in Mexico. They chose to empathize with this perspective to better understand it.
According to Valadez, movies have a unique power to help us experience life from another person’s perspective, who may not share our emotional, social, or cultural background. This is what makes cinema so enchanting; it gives us insights into things we didn’t comprehend before and encourages us to question the world around us.
In my perspective, I ardently hope that movies such as “Sujo” spark a novel approach for Mexican narrators to tackle the issue of violence and its repercussions, potentially paving the way for a more compassionate tomorrow.
“Cinema is the perfect space to imagine something different,” says Rondero.
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2024-12-17 03:02