In short cinematic drama The bodies, Written and directed by Luka Bueno, two LAPD officers respond to an invitation to disturb a house in a neighborhood containing the majority of immigrants and minorities. While the officers are investigating the situation, officer Alvarez (Alonso Garcia) notes cultural evidence that there is something greater in playing. While he wrestles with his Latin heritage and his duties as law enforcement agent, he begins to think about humanity and sympathy.
Before his short shown at the Los Angeles Latin International Film Festival, Bueno talks to the pluscinemaz.comabout the ordeal of immigrants and the importance of Latin acting.
The deadline: What is the source of inspiration for the short?
Luka Bueno: I feel, as film makers, we have the opportunity to address relevant themes, the theme of immigration and discussion is something I feel not only relevant but still and will be forever as well. In the last two months and years, we have been fully bombed from the titles, numbers and really exciting headlines. I was like, “I want to tell a story about this topic, but this really shows humanity behind it.”
People, human beings, families behind numbers, headlines, wrong information, and armed aspect of the entire immigration conversation were the ones that forced me to photograph this.
The deadline: I was reading that you were a Brazilian -born person who moved to France and then ended up in the United States. So, I am curious: How is it related to the topic?
Bueno: I was born in Brazil. My family is a complete Brazilian to T, and Latin is very and proud of that. I moved from Brazil to France and then to Monte Carlo when I was eight years old, and I went back to Brazil when I was 14 years old. Then, at the age of sixteen, I moved to the United States, I was always a kind of immigrant, the new man, not only in schools but also in countries and cultures. We moved to France because of my father [Galvão Bueno] Work and then return because of that. After that, I moved to the United States because I was very excited to follow the movie. So, this thought of the desire to go somewhere in search of a better life, get it completely. Although I am not in the position of the people I photograph in the movie, I can be attached to the urgent desire to move to somewhere in search of your dream and a better life for your family.
Luca Bueno
The deadline: We attracted the parties to the conversation before the interview about not admiration for horror movies too much, but they are very funny because there are some shots similar to horror here. Talk about the intention of the way you photographed.
Bueno: It is true that I am not the most horrific fan, but especially a feeling of horror. But I knew since I was about six years old that I wanted to be a way out. So, I am enthusiastic about all the movies. My father was working on TV, my grandmother was an actress, and my grandfather was a director. Therefore, I built these tools in my back pocket for each type of type. This is a very dangerous and dark topic. It is very scary. Therefore, using these small horror techniques for guidance, I think, I worked for this. It is also a movie on perspective. There is a small development for that. In adding this excitement element, I think it is a frightening extent of people in this position on both sides.
The deadline: How did Alonso Garcia find players Alvarez?
Bueno: It is amazing. He is from Peru, so he is also Latin. It is funny, though, because I tested a lot of people, and if I was not wrong, the first to present or the first three people to offer. It was a three -month process to find the protagonist, and was one of the first. So, you are like, “This man is very good. It fits everything.” But I was not committing to an actor after a week of research. Therefore, things extended. But then, in those months that followed, I was always thinking that no one was good like him. It was about the way he could express what he felt without using words.
The deadline: Talk more about the lack of a dialogue in the text program because you are raising a good point. You need someone who can sell it.
Bueno: It is from the perspective. I feel that this lack of dialogue, as you expect there to be a lot of interpretation. I have been based on the dialogue because I wanted to be really noticeable that something is missing. If some people do not like it, then there is nothing wrong with that. I wanted to be really noticeable because it makes people start thinking, “Well, if there is a dialogue, what would he say? What would the opponent say, the American officer,?” Through this communication from appearance, I really enjoy talking to people about how they are filled with lines [with silence and their emotions]. This feeling of opponent allowed him to leave. Do I think that the officer Alvarez did not find anyone else at home?
There is ambiguity due to the finding of these families [in hiding] Do not go in the same way. Therefore, leaving a mysterious end makes it more universal. One of Ilhami is Dennis Felinov, director of the movie accessand Sicario, and Sand dunes. “The film contains a lot; it contains an image, has a sound, and has angles of this kind of sensation.” Thus, sometimes, the dialogue can be excessive. We have a lot to return to it in the movie because we have a lot. She somewhat wanted to explore this for a kind of work in my muscles with that.
The deadline: Let's talk about some scenes. There is a symbolism in the Alvarez officer necklace. He wears it publicly, then hides it after the other officer reminds her. Then, when the family hides in the cabinet coincides with, the younger girl has a similar bracelet.
Bueno: So, the necklace it wears, it is a prominent thing in every Latin culture. It has a different name. In Brazil, we have a different name. In Peru, they have a different name. In Mexico, they have a different name, but it is the same. So, it's something when you see someone wearing or refer to, as you know. So, it makes him put him, at first, he is to put his evil, professional efficiency, and his duty in front of his culture. He puts his duty in front of his humanity. As the film progresses, while making the options he takes, it is proud of the choice he chooses, restore the necklace back and put it in front of his badge. It seems as if he was saying, now my culture and humanity in front of my duty. Therefore, there was another way to clarify this without having to say anything.
The deadline: Then there is the scene where the family finds hidden in the cabinet. There are no words, but there are many stars and detection. There is a woman carrying a new baby and new blood on the floor. Then you see despair on their faces. Define this.
Bueno: Yes. It builds for us to believe that it is a very terrible thing that might hide a man, right? So, he is definitely, he moves from fear to what he might find, perhaps relief because no one has died and everyone is alive. But then, Wow, I had nothing like this before. What will I do? What will happen to me? The bracelet that the girl wears and then connects it. It is a lot. You are right. So, what we did is to sew a lot of taking into account together. So, when you find something like this for the context, the family in the hidden cabinet, the owner of the house lived in them, and I was born, as I said. If you will open this cabinet, you will not have one reaction. A lot of things will go through your head. Thus, you were like, “Let's do a lot. Give me a lot of options, then we will exchange with the family and when we go back to you. You will go through rotation.” Therefore, we were keen to have many different feelings that pass through his head and a lot of difference takes sewn together.
[This interview has been edited for length and clarity.]
