25 · 03 · 18

De la realidad a la ficción: entrevista a Amir Galván y Vanessa Arreola, dirctores de La 4ª compañía

Gabriela Martínez @GabbMartivel

La 4ª compañía, de Amir Galván y Vanessa Arreola, cuenta la historia de Zambrano, un joven reo de Santa Martha Acatitla que deambula entre elevarse en el ámbito de los deportes con“Los Perros de Santa Martha”, el equipo de fútbol americano del lugar, o adentrarse en el lado más profundo del crimen como miembro de La 4ª compañía, un escuadrón de la muerte al servicio de las autoridades de la cárcel.

Platicamos con los directores de la película ganadora de diez Arieles y nos compartieron su experiencia al filmar con reos de Santa Martha Acatitla.

Have the Santa Martha's inmates seen the movie?

AG: Yes, they liked the movie very much because they understand everything that happens in it, even more than the spectator who could go to see it in a movie theater. They could see many of the situations they live day to day.

VA: What some may scandalize, for them it was completely normal. In this way, this film remains as a legacy of what remains of Santa Martha.

AG: Some of the inmates who worked with us, are currently free and have maintained contact with them, mainly with a group that has organized a small company that they called "Los 77", which are in Colonia San Rafael, Mexico City, and make their own assemblies.

Both worked on Presunto culpable (2009, Roberto Hernandez and Geoffrey Smith), which participated in Morelia, do you have more prison film projects in mind?

AG: Yes. We were already working in La 4ª compañía when we were in Presunto culpable, from there we came a deep friendship with the directors. We share the idea that cinema can be approached from a social perspective, just how we are doing it.

Roberto (Hernández) and Layda (Negrete, producer) are part of World Justice Progress, an association that deals with issues of justice, they link statistics with cinema and create projects around them. We are working on a transmedia project and a short documentary on related topics. Subsequently, I would like to explore themes of childhood, religion and anonymous heroes who work for the benefit of the people.

VA: I was working on a project with children from the women's prison. I had to leave it to work on Presunto culpable, but I would like to resume it in the future. Maybe a short or a long one will come out, so then I'll close this chapter of the prison cinema. Then I would like to talk about freedom, childhood and youth, because they are important in life, it's at this time when ideals and dreams are born.

What advice could you give to young filmmakers?

AG: Know the depth of what you want to talk about, each detail, each edge. Make a lot of observation of that thing that interests you because that makes everything more plausible.

VA: Assume that cinema is a creative process at all times. The more you understand the story, the more chances you will find to address it.