She has edited films by Lisandro Alonso, Carlos Reygadas, and Amat Escalante, amongst other directors, and heads the high-end post-production studio Splendor Omnia. As a director, her short film “In paradise as it is on Earth” was selected for Critics Week at the 2007 Cannes Film Festival.
” Robe of Gems” is screening at the 2022 Berlin International Film Festival, which is taking place February 10-20.
W&H: Describe the movie for us in your own words.
NLG: I have actually envisioned this film as a collage that shows a universe with numerous characters, where fear comes from not having a typical goal as a society..
W&H: What drew you to this story?
NLG: What pertained to me at the start was simply the desire of a concept– an idea that was based on the need of someone to feel and experience another from the within..
That concept came to me throughout a duration of research when I had a few encounters with moms that have missing kids. After the interviews, I drove back house feeling something uncomfortable that I could not describe at that moment.
W&H: What do you want individuals to consider after they see the film?
NLG: My desire is to have actually developed a container that can be filled with the subjectivity of everyone who watches the film..
I think that movie theater needs to be an experience– one that is connected directly to the body and directed by an intuitive procedure.
I spent a couple of years soaking up the styles and concepts I desired to provide in the movie. I believe that the exact same procedure could occur inside the people who will view the movie for the first time.
W&H: What was the greatest challenge in making the film?
What I find important is to have not only a desire to do a film but a deep necessity, so that force became an impulse that will press you through the procedure. Making a film will bring obstacles of all sorts, things that you would not imagine, and you simply have to discover a way.
W&H: How did you get your film moneyed? Share some insights into how you got the movie made.
NLG: The movie is mostly funded by Mexican public funds, which are such a blessing for Mexican creators and artists. Thanks to them, Mexican cultural expressions have actually always been something that continued to establish– but nowadays, those funds are fighting to remain alive..
We have also an excellent Argentinian co-producer: REI CINE, through Benjamín Domenech. The last part was accomplished through our partners at Visit Films in the U.S. and also the producers and good friends Sasha Ben Harosh and Ryan Zacarias.
W&H: What motivated you to end up being a filmmaker?
NLG: I do not have a clear response for this. Ive enjoyed films because I was little with my daddy. I keep in mind that some movies caused me a mysterious and deep feeling, something that I could not describe at that minute..
My daddy was an anthropologist and made documentaries. I accompanied him in his travels through the Andean highlands in Bolivia as a kid. He had an enthusiasm for movie theater, possibly he sent that love to me.
W&H: Whats the very best and worst advice youve gotten?
NLG: The finest guidance was: Construct the movie in your head in every information ahead of time. Visualize every noise and circumstance, each color, the environments, light, texture, faces, words, motion, frames size, items, and sensations that you need to perceive, so that everything is developed..
The more you prepare, the more you can be all set to face potential mishaps, and bring the unanticipated into the film..
Ive gotten a lot of bad advice.
W&H: What recommendations do you have for other women directors?
NLG: To trust in their vision constantly.
Find collaborators who share that vision, and desire to commit and think in the film..
W&H: Name your favorite woman-directed movie and why.
NLG: Lucrecia Martels “La niña santa” is my favorite however I believe all [her movies] are treasures..
There are numerous factors why I love her films: using the cinematic language, especially the method she constructs area through sound; making use of dialogue as an aspect that is constantly hiding something; and perhaps the most dear to me is the reality that you can feel the presence of an individual vision, something that is not so simple to find in a time of standardization.
W&H: How are you getting used to life during the COVID-19 pandemic? Are you keeping creative, and if so, how?.
NLG: I live in the countryside. We have actually handled to continue nearly typically. My spouse produced and constructed a school in our home, so we had 20 teens finding out, which has actually ended up being a creative force for the kids and neighborhood..
W&H: The movie industry has a long history of underrepresenting people of color onscreen and behind the scenes and strengthening– and developing– negative stereotypes. What actions do you think requirement to be required to make it more inclusive?
NLG: I think that the actions needed must be chosen by the right people– individuals who know and understand this organized condition. I make certain that movie theater and any other human area of development will become richer if we have a broad diversity of vision. I think we must question the system and ourselves in all our actions, so that we can find a method to change from within.
Source link.
As a director, her short film “In heaven as it is on Earth” was selected for Critics Week at the 2007 Cannes Film Festival. I invested a couple of years soaking up the ideas and styles I desired to present in the movie. I believe that the very same process might take place inside the people who will see the film for the very first time. What I find crucial is to have not only a desire to do a movie but a deep requirement, so that force ended up being an impulse that will press you through the procedure. Making a film will bring difficulties of all sorts, things that you would not picture, and you simply have to discover a method.
