{"id":123582,"date":"2024-04-04T13:00:00","date_gmt":"2024-04-04T11:00:00","guid":{"rendered":"https:\/\/iffr.com\/en\/?p=123582"},"modified":"2024-11-06T11:24:49","modified_gmt":"2024-11-06T10:24:49","slug":"blog-los-delincuentes-interview","status":"publish","type":"post","link":"https:\/\/iffr.com\/en\/blog-los-delincuentes-interview","title":{"rendered":"Take the money and run: Rodrigo Moreno on Los delincuentes"},"content":{"rendered":"\n


<\/strong>\u201c\u00bfA d\u00f3nde est\u00e1 la libertad?\u201d chants Pappo of Argentinian rock band Pappo\u2019s Blues as the credits roll on Los delincuentes<\/strong>, one of its two main protagonists Mor\u00e1n wandering on horseback into the sunlit Cordoba countryside: where can you find freedom? \u201cQuiz\u00e1s la tengan en alg\u00fan lugar\u201d: maybe they have it in some place.<\/p>\n\n\n

\"\"<\/figure>\n\n\n

Those who watched the film at IFFR 2024, and everywhere else following its sensational Cannes premiere in 2023, might have found a slice of it. Its director Rodrigo Moreno and producer Ezequiel \u2018Boro\u2019 Borovinsky share their experience making the film together over more than eight years since it was first presented as a project at IFFR\u2019s co-production market CineMart in 2015. <\/p>\n\n\n\n

\u201cI was not sure about the ending of the film,\u201d described Moreno as he starts talking about the free-form way in which the film was shot. \u201cWe went to shoot in the hills two times: one was cancelled by the lockdown and in the other we didn\u2019t have time enough to shoot the ending, fortunately, because the ending was one of the elements that changed the most during the process.\u201d The process involved shooting the film in two parts, constant reworking of the script, a series of delays and Covid-related hold-ups and an intensive, introspective edit. <\/p>\n\n\n\n

\n

\u201cI needed to somehow get lost in the second part.\u201d<\/p>\n<\/blockquote>\n\n\n\n

\u201cThe last shot of the film was the last shot we took after four years of shooting, which is nice.\u201d The sprawling, rising-and-falling ten-minute blues-rock song that accompanies the shot with all the swagger of the \u201870s, says much about the film itself: a three-hour apparent heist film that tackles much more than meets the eye. Divided into two parts, the film follows a disgruntled bank employee stealing the value of his not-yet-earned salary from a future he doesn\u2019t want to live out, drawing in a reluctant colleague Rom\u00e1n. In the second, the film goes into the country to explore what kind of freedom this might enable, ruminating on work, love and the passage of time. <\/p>\n\n\n\n

\u201cFrom the very beginning, I wanted to split the shooting into stages\u201d, says Moreno of the process that brought the film about. \u201cI needed to be in a different mood as a director to face each part. I needed to somehow get lost in the second part.\u201d If what ended up a four year shoot might have been crucial to the film\u2019s eventual poignancy, it posed a great challenge to its producer. <\/p>\n\n\n\n

\u201cI think this is the film where I learned the most\u201d, says Boro. \u201cIt was very difficult, moreso because of the pandemic than Rodrigo’s ideas. We had very hard financial problems during the shooting. The funds support films that shot in one time, so they usually give you the money in that way.\u201d The funding was put together from Argentina, Brazilian and Chilean co-producers, the Luxembourg Film Fund and local regional funds in Cordoba. \u201cWe had to put everything together and understand how to split the shooting.\u201d <\/p>\n\n\n\n

\n

\u201cI’m going to follow you, and I’m going to protect the story.\u201d<\/p>\n<\/blockquote>\n\n\n\n

Not only the pandemic distributed the schedule. After one and a half years of waiting to restart the shooting, the team had to cancel again as one of the main actors went to Spain to shoot another project. \u201cWe had to wait for him for nine months!\u201d says Moreno. \u201cAt the end of the day, that period of time shooting, making the film, allowed me to discover the film during the process.\u201d<\/p>\n\n\n\n\t

\n\t\t\t\t\t\t\t\t\t

A list of images<\/h2>\n\t\t\t\n\t\t\t\n\n
\n\t
\n\t\t