Show Days of Grace (Dias De Gracia) at your festival, theater, or community center.
In order to share the film to your audience, you must first obtain the PUBLIC PERFORMANCE RIGHTS, which is required if you plan to show the movie to a public audience (150 – 300 people), regardless of whether admission is charged or not. For more information, visit our FAQ.
$500 – Public Performance Rights
If you have additional questions, please contact Screening@CinemaLibreStudio.com
Buy the DVD
$24.95 | 881394120129 | Bonus Features: Trailers, Photo Gallery, Behind the Scenes Featurette, Interactive Menus
Buy the Blu-ray
$29.95 | 881394120228 | Blu-ray Exclusives: Trailers, 4 Behind the Scenes Featurettes, Photo Gallery, Closed Captions, Interactive Menus
Corruption, kidnapping, and vigilante justice fuel this explosive debut by Mexican filmmaker Everardo Gout. Set in Mexico City during three consecutive World Cup tournaments, three lives impacted by abduction, intersect. Lupe, an idealistic cop, is tasked to investigate a crime ring and finds that justice has no value when a human life has a price. When Susana’s businessman-husband Arturo is taken, she must go outside the law to fight for his release. And Iguana is conflicted as he dreams of becoming a boxer even as he is drawn into a lifestyle that finds him guarding kidnap Victim X and facing down a criminal mastermind.
The multi-Ariel Award®-winning film features music by Atticus Ross, Nick Cave, Warren Ellis, and Shigeru Umebayashi and features Scarlett Johansson on vocals in a remix of George Gershwin’s iconic song, ‘Summertime.’
Tenoch Huerta Mejía was born in Mexico D.F. He is best known for his performances in Gueros (2014), Days of Grace (2012), Get The Gringo (2012), and Sleep Dealer (2008). His performance in the film, Sleep Dealer by Alex Rivera, was awarded at Berlin and Sundance in 2008. He was chosen by Monica Maristain to appear in his book, 30 Actors Made in Mexico, and has worked on short films and feature length projects.
Kristyan Ferrer was born in Mexico D.F. in February 1995 and has been acting since 2001. He has a recurring role on TV Azteca on the series "Lo que callamos las mujeres" and has appeared in the comedies " Puro loco," "Qué buena onda" y "Ya cayó",and the telefilm "Miracles. " He was nominated for an Ariel for best supporting actor for his performance in Days of Grace.
Carlos Bardem is the son of actress, Pilar Bardem, and brother of fellow actor, Javier Bardem. He is best known for his roles in Days of Grace (2012), Cell 211 (2009), and The Area (2007). Bardem has received an ACE Award and an Actors Union Spain Award for Best Supporting Actor for his performance in Cell 211 and an Actors Union Spain Award for Best New Male Actor for The Area.
Dolores Heredia has worked in film, television, and theater. She is best known for her roles in Days of Grace (2012), Get The Gringo (2012), Vantage Point (2008), and Capadocia (2008). Her first performance in a film was Pueblo de Madera (Timber Town), by Juan Antonio de la Riva, in 1990. She continued working in the made-for-TV movies, Old Town by Carlos García Agraz, and Shoot to Kill, by Gabriel Retes.
Veronica Falcon is considered one of the most versatile actors of her generation and an extremely prolific artist, as can be seen throughout her extensive body of work both as an actor & choreographer. She´s written three plays and a short film, she has been published as an author as well. She coproduced several creative projects and served as creative consultant for several more. Last year she finished shooting Rodrigo Plá ´s latest film, a television series two more films & two shortcuts. She is currently developing her one woman show.
Everardo Gout is a Mexican director, writer and producer. He studied film at the various schools such as Centro Universitario de Estudios Cinematográficos in Mexico City, the New York Film Academy and the Hollywood Film Institute. In 2006, Everardo directed a short film titled M with acclaimed cinematographer, Luis Sansans. The short was shown in dozens of international film festivals and won several awards. His expertise in storytelling led him to direct music videos for artists such as Mos Def, Morcheeba, The Roots, Ozomatli, will.i.am, and many more. In 2007, he was nominated for a Grammy® for the music video “When You Were Young,” by the band The Killers. Days of Grace is his feature film directorial debut.
Leopoldo Gout, brother of director Everardo Gout, is a filmmaker, writer and artist from Mexico. He studied Contemporary Art at Central Saint Martins in London. He has showed his artwork in galleries and museums around the world. In addition to his own productions, Leopoldo is a producer/partner with James Patterson Entertainment and a producer/director with @radical.media. He produced the Shakher Kapur film Passage and with James Patterson Entertainment he is developing Universal’s Maximum Ride with Spiderman producer Avi Arad.
Also a published author, Leopoldo wrote Ghost Radio for Harper Collins and co-wrote the graphic novel The Dangerous Days of Daniel X, with James Patterson for Little Brown.
Luis Sansans learned his craft in the camera department of films such as Y Tu Mama Tambien, Master and Commander: The Far Side of the World and Resident Evil: Extinction. As a Cinematographer, he has worked in projects such as Rabbit on the Moon, Carnaval de Sodoma, Amar, Days of Grace, for which he won an Ariel (Mexican Academy Award) for Best Cinematography. More recent projects include: La Brújula la lleva el Muerto, Escobar: Paradise Lost for which he won the AIC award for Best Cinematography at the Rome Film Festival in Italy, Texas Rising a TV Series for History Channel, and Captive, which are about to be released in the US.
"A harbinger of [future] cult film status. Colors do pop and the soundtrack booms, an intense, bass-heavy score." - Variety
- DAYS OF GRACE - DIAS DE GRACIA -
"A breathlessly paced adrenaline rush that keeps the action rolling non-stop.
An exceptional tech work that gives the film plenty of energy and excitement.
Days of Grace is likely to take Gout a long way." - The Hollywood Reporter
- DAYS OF GRACE - DIAS DE GRACIA -
|Days of Grace | Tenoch's Fateful Discovery | Official Movie Clip | Cinema Libre Studio (1:17)
Tenoch follows a lead in his police corruption case to a car impound lot where he uncovers a tragic scene that will change his life forever.
|Days of Grace | Susana Confronts the Police | Official Movie Clip | Cinema Libre Studio (1:19)
Susana sits down with a police officer to discuss Arturo’s abduction, but she confesses that she is tired of waiting for something to be done and is more fearful of the corrupt police than the criminals who may have her husband.
|Days of Grace | The Police Interrogate Maxedonia | Official Movie Clip | Cinema Libre Studio (1:15)
The police question Susana’s maid, Maxedonia, about her personal life and how she discusses her work after her boss Arturo is abducted. During questioning it is revealed that Doroteo is her brother.
|Days of Grace | Tenoch Delivers Incriminating Photos | Official Movie Clip | Cinema Libre Studio (1:17)
Fulfilling a promise to the injured Melquiadez, Tenoch delivers a suspicious envelope, but not before peeking inside, to a gang of men that appear to be involved in the kidnapping syndicate.
|Days of Grace | L. Hinojosa World Cup Abduction | Official Movie Clip | Cinema Libre Studio (1:27)
While listening to the 2006 World Cup broadcast in his car, L. Hinojosa is diverted down a side street where a group of men claiming to be police officers abduct him, claiming he is a trafficker.
"The best Mexican film of this generation" - Rolling Stone Mx
- DAYS OF GRACE - DIAS DE GRACIA -
"A tremendous standing ovation for over 10 minutes in Cannes." - CNN
- DAYS OF GRACE - DIAS DE GRACIA -
Based on his original screenplay, Everardo Gout’s directorial debut, DAYS OF GRACE (DIAS DE GRACIA), was an Official Selection of the 2011 Cannes Film Festival, earning a fifteen minute standing ovation, then went on to win 8 Mexican Academy of Film Ariel Awards® in 2012 as well as Best Film and Best Director prizes at the Guadalajara International Film Festival. Produced by Leopoldo Gout (Alex Cross) the film stars Tenoch Huerta (Get the Gringo, Sleep Dealer and Güeros), who won an Ariel for Best Actor, Kristyan Ferrer (Sin Nombre, El Narco), Dolores Heredia (Get the Gringo, Vantage Point, and Capadocia) and Carlos Bardem.
Gout, who spent a decade making commercials, video and other short form content crafted a gripping tale of three kidnappings, which occur during consecutive World Cup tournaments in 2002, 2006, and 2010, three distinct and carefully conceived timelines. This ambitious and dynamic first feature that tackles police and government corruption in Mexico City and the violent, harrowing ripple effects this has on seemingly unconnected individuals. Gout created the singular looks (using three different aspect ratios) for each subplot with cinematographer Luis David Sansans, who developed his craft in the camera department on films such as: Y Tu Mamá También, Master and Commander: The Far Side of the World, Romeo + Juliet, and Resident Evil: Extinction.
The soundtrack also denotes the different time frames by assigning three scores to each period. They are composed by Academy Award® winning composer Atticus Ross (The Social Network), as well as Nick Cave, Warren Ellis, and Shigeru Umebayashi, with a remix of George Gershwin’s iconic song, "Summertime " written by Robert Naja & Tim Goldsworthy, members of Massive Attack, performed by Scarlett Johansson.
The film was released theatrically in Mexico on 200 screens in April 2012. It has been released in France, United Kingdom, Hungary, and Sweden. Following a US theatrical run and will be broadcast on HBO in May 2015 and released day-and-date on DVD and select transactional On Demand platforms.
|Iguana / Doroteo||Kristyan Ferrer|
|Susana Lozano||Dolores Heredia|
|Victim X||Carlos Bardem|
|Commandante Jose||José Sefami|
|The Madrina||Veronica Falcon|
|The Kaliman||Vikram Chatwal|
|Script and dialogues||Everardo Gout|
|Director of Photography||Luis Sansans|
|Sound designer||Fernando Camara|
|Additional Music||Antony Partos|
|Set design||Bernardo Trujillo|
|Costume design||Bertha Romero|
|A Mexican-French coproduction produced by||Casa B Productions
|Executive Producer||Adriana Bello|
Michèle & Laurent Pétin
|In association with||Fidecine México
|Sound Format Dolby SRD/DTS Scope|
|Claudia Sarne||ORIGINAL MUSIC|
|Robert Del Naja||UNCREDITED- ORIGINAL MUSIC|
|Tim Goldsworthy||UNCREDITED- ORIGINAL MUSIC|
|Scarlett Johansson||UNCREDITED- ORIGINAL MUSIC|
|Julien Perez||SOUND RE-RECORDING MIXER|
|Frederic Le Louet||SOUND CO-DESIGNER|
|Enrique Greinier||SOUND CO-DESIGNER|
|Eric Dounce||SOUND CO-DESIGNER|
|Victor Herrera||FIRST ASSISTANT DIRECTOR|
|BUF||SPECIAL EFFECTS PRODUCER|
|Ozcar Ramirez Gonzalez||LINE PRODUCER|
|Vikram Chatwal||ASSOCIATE PRODUCER|
|Leopold Gout||SECOND UNIT DIRECTOR|
|Alejandro Sanchez||PRODUCTION MANAGER|
|Patrick Heyerdahl||A. D.' S SECOND ASSISTANT DIRECTOR|
|Julian Valdes Tovar “Chico”||SECOND SECOND ASSISTANT DIRECTOR|
|Hajime Espinosa||SCRIPT SUPERVISOR|
|Roberto Salinas "Brondo"||CASTING|
|Sandra Leon Becker||CASTING|
|Ricardo Aguado Fentanes||CO WRITER|
|David Rutsala||CO WRITING|
|Belinda Uriegas||PRODUCTION COORDINATOR|
|Rafael Perez "Rabbit"||UNIT MANAGER|
|Araceli Lopez Mata||COORDINATOR'S ASSISTANT|
|Ricardo M. Kaplan||COORDINATOR'S ASSISTANT|
|Patricia Agudo Sansans||PRODUCTION ASSISTANT|
|Jorge Woolrich||PRODUCTION ASSISTANT|
|May Huerta||PRODUCTION ASSISTANT|
|Thomas Rich||PRODUCTION ASSISTANT|
|Paola Rivera||PRODUCTION ASSISTANT|
|Mariana Ridgell||ASSISTANT: VIKRAM CHATWAL|
|Asajiro Yamamoto||ACCOUNTING ASSISTANT|
|Blanca Hurtado||ACCOUNTING ASSISTANT|
|Ivonne Alva||FISCAL AUDITOR|
|Paola Rivera Perez||AUDITOR ASSISTANT|
|Taylor Wessing France||ATTORNEY|
|Alexander P. Hartnett||US ATTORNEY|
|Ed Gerard||MUSIC ADVISOR|
|Jose Meouchi Lahud||MEXICO ATTORNEY|
|Gregoire Melin||INTERNATIONAL SALES|
|Yvan Lucas||COLORIST: Efilm|
|Juan Jose Saravia A.M.C.||DP: SECOND UNIT|
|Guillermo "Memo" Rosas||ADDITIONAL PHOTOGRAPHY|
|Luis Sansans Arnanz||STEADICAM OPERATOR|
|Jose Gutierrez||CAMERA ASSISTANT|
|Marisa Velez Montoya||CAMERA ASSISTANT|
|Nestor Espinosa||CAMERA LOADER|
|Everardo Gout||CAMERA OPERATOR|
|Noe Munoz||ASSISTANT CAMERA|
|Fernando Sanchez||CAMERA ASSISTANT|
|Ricardo Deneke||ADDITIONAL CAMERA OPERATOR|
|Marc Beliver||CAMERA OPERATOR|
|Santiago Navarrete||CAMERA OPERATOR|
|Luis Yanez||VIDEO ASSISTANT|
|David Maruri||VIDEO ASSISTANT|
|Alejandro Matu||VIDEO ASSISTANT|
|Claudia Abuali||STILL PHOTOGRAPHER|
|Claudia Mera||CAMERA TRAINEE|
|Juan Sebasyian Moreno||CAMERA EQUIPMENT REPRESENTATIVE|
|Foro Estrella & EFD||LIGHTING EQUIPMENT|
|Javier Enriquez Bautista||GAFFER|
|Miguel Angel Garcia||CHIEF LIGHTING TECHNICIAN|
|Jesus Adrian Romero||DOLLY GRIP|
|Humberto Delgado Morales||KEYGRIP|
|Juan Manuel Alvarez Ambriz||ELECTRICIAN|
|Adrian A. Enriquez||ELECTRICIAN|
|Jorge Alberto Enriquez||ELECTRICIAN|
|Jose Alejandro Diaz||GRIP|
|Ulises Garcia Medina||GRIP|
|Jay Aroesty||ARTS DIRECTOR|
|Diego Gajardo||GRAPHIC DESIGNER|
|Claudia Mera||GRAPHIC DESIGNER|
|Alfredo Acle||CONCEPTUAL DESIGNER|
|Jordi Castells||STORYBOARD ARTIST|
|Fransisco Blanc||SET DESIGNER|
|Vanesa Garnica||ASSISTANT TO THE SET DESIGNER|
|Edgar Matamoros||GRAPHIC DESIGNER|
|Domingo Castaneda||WAREHOUSE KEEPER|
|Jorge A. Barba||SET DECORATORS/ SET DESIGNER|
|Nora Toriz||SET DRESSER|
|Cecilia Ramirez||LEAD WOMAN|
|Angel Romero||SET PAINTER|
|Raul Farias||SCENIC PAINTER|
|Miguel Cervantes "Tyson"||ON SET PROP MASTER|
|Aristeo Ruiz||PROP MASTER ASSISTANT|
|Jorge Gonzalez "Pato"||ARMORER|
|Cmte. Rafael Del Toro||ARMORER|
|Jose Guadalupe Lopez||WARDROBE COORDINATOR|
|Pamela Lopez||WARDROBE ASSISTANT|
|Julio Marin "Hawaii"||ON SET WARDROBE|
|Juan Manuel Gonzalez||ASSISTANT TO THE ON SET WARDROBE|
|Felipe Salazar||MAKEUP DIRECTOR|
|Ma. De Lourdes Delgado||HAIR STYLIST|
|Marco Antonio Perez "Marki Marck"||HAIR STYLIST ASSISTANT|
|Roberto Ortiz||PROSTHETIC MAKEUP ARTIST|
|Karina Rodriguez||ASSISTANT TO MAKEUP ARTIST & PROSTHETIC|
|Luis Felipe Moreno||ASSISTANT MAKEUP ARTIST|
|Leon Sandoval||BOOM OPERATOR|
|Raul Zavala||CABLE GUY|
|Armando Guerrero||EXTRAS COORDINATOR|
|Jose Antonio Ferrer||ASSISTANT TO THE EXTRAS COORDINATOR|
|Ricardo Arvizu||SPECIAL EFFECTS SUPERVISOR|
|Ricardo Arvizu Solis||ASSISTANT SPECIAL EFFECTS SUPERVISOR|
|Jose Martinez||ASSISTANT SPECIAL EFFECTS SUPERVISOR|
|Christian Coos||ASSISTANT SPECIAL EFFECTS SUPERVISOR|
|Sergio Reyes||ASSISTANT SPECIAL EFFECTS SUPERVISOR|
|Jaime Ramirez||ASSISTANT SPECIAL EFFECTS SUPERVISOR|
|Guillermo Granados||ASSISTANT SPECIAL EFFECTS SUPERVISOR|
|Luis Ambriz||ASSISTANT SPECIAL EFFECTS SUPERVISOR|
|Wade Allen||ACTION COORDINATOR|
|Willebaldo Bucio "Balo"||STUNT COORDINATOR|
Juan Carlos Olalde
|Rocio Ortega- Rancho Los Pirules||ANIMAL TRAINER|
|J. Manuel Ballesteros||CATERING|
|Maria Eugenia Mendoza||OFFICE MAINTENANCE|
|Jose Luis Palestina||SET MAINTENANCE|
|Hiram Lopez||SET MAINTENANCE|
|Raul Olvera||SECURITY AGENT|
|Gerardo Escamilla||SECURITY SUPERVISOR|
|Julio Valderrabano||SECURITY SUPERVISOR|
|Jorge Saldana||SECURITY SUPERVISOR|
|Alfredo Nonato||VEHICLE COORDINATOR|
|Manuel Montes De Oca||PICTURE CARS ASSISTANT|
|Felipe Medina "Chona"||TRANSPORTATION CHIEF|
Jose Luis Loyo
Jose Cruz Garduno "Cheche"
Miguel Ange Diaz
Jose Luis Segura
Jose Antonio Ubaldo
|RODAJE ADICIONAL ADDITIONAL FILMING|
|Mauricio Lule||ADDITIONAL ASSISTANT DIRECTOR|
|Miguel Necoechea||ADDITIONAL ASSISTANT DIRECTOR|
|Julio Navarro||ASSISTANT ART DEPARTMENT|
|Emilio Cortes||AUDIO ENGINEER|
|Alejandro Varela||BOOM OPERATOR|
|Larissa Rojas||THE MAKING-OF PRODUCER|
|Adriana Martinez||MAKING OF EDITOR|
|Romauld Lagoude||TECHNICAL ADVISOR|
|Juile Tardit||PRODUCTION ADMINISTRATOR|
|Philippe Akoka||POST PRODUCTION SUPERVISOR|
|Adriana Martinez||FIRST ASSISTANT EDITOR|
|Anita Roth||SECOND ASSISTANT EDITOR|
|EFFECTOS VISUALES||SPECIAL EFFECTS|
|Pierre Buffin||PRODUCER SPECIAL EFFECTS|
|India Osbourne- Buffin||PRODUCER SPECIAL EFFECTS|
|Frederic Fourier||VISUAL EFFECTS SUPERVISOR: BUF|
|Edouard Valton||VFX PRODUCER: BUF|
|Guillaume Dubois||EFFECTS COORDINATOR: BUF|
|Michel Samreth||VISUAL EFFECTS ARTIST|
|Cedric Le Dru||VISUAL EFFECTS ARTIST|
|Lorenzo Serran||VISUAL EFFECTS ARTIST|
|Francois Vico||VISUAL EFFECTS ARTIST|
|Philippe Akoka||VFX DIRECTOR|
|Thibaut Granier||VISUAL EFFECTS SUPERVISOR|
|Clement Darbois||VFX GRAPHIC ARTIST|
|Oscar Guardiola||VISUAL EFFECTS ARTIST|
|Olivier Caron||GRAPHIC ANIMATOR|
|Olivier Regnier||TECHNICAL SUPPORT|
|Elie Tisne||TECHNICAL SUPPORT|
|Flora Zaghini||TECHNICAL SUPPORT|
|Adelaide Basson||TECHNICAL SUPPORT|
|Elie Akoka||TECHNICAL SUPPORT|
|Louise Abbou||TECHNICAL SUPPORT|
|Meryl Estragna||TECHNICAL SUPPORT|
|Frederic Le Louet||SOUND DESIGNER|
|Cedric Denooz||MUSIC SOUND MIXER|
|Frederic Devanlay||SOUND EFFECTS EDITOR|
|Grace Brown||SOUND RECORDIST|
|Renan Furet||SOUND RECORDIST|
|Emmanuel Guiot||MUSIC MIXER|
|Benjamin Lecuyer||MUSIC SOUND MIXER|
|Carlos A. Cuevas||DOLBY CONSULTANT|
|Fotokem||FILM DEVELOPMENT LABORATORY|
|Mary Chamberlain||DAILIES COORDINATOR|
|Howard B. Brodersen||DAILIES COLORIST|
|Andrew Oran||TECHNICIAN CONSULTANT|
|Jeff Heacock||TECHNICIAN CONSULTANT|
|Rob Phillips||PRODUCTOR ID|
|Tom Reiser||ASSISTANT COLOR TIMER|
|Elodie Ichter||ASSISTANT COLOR TIMER|
|Rosalie Staley||DIGITAL INTERMEDIATE ASSISTANT PRODUCER|
|Curtis Lindersmith||DIGITAL INTERMEDIATE EDITOR|
|Pat Clancey||DIGITAL OPTICALS|
|Gustavo Duron||DIGITAL OPTICALS EDITOR|
|Gustavo Duron||DIGITAL OPTICALS EDITOR|
|Scott Sawyer||PROJECT COORDINATOR|
|Jeff King||LABORATORY TECHNICIAN|
|Marcus Aranda||LABORATORY TECHNICIAN|
|RETRO ENTERPRISES CO. LTD|
|ALPHAVILLE & ASTRO|
|Eduardo Castillo||ADR & FIELD RECORDIST, DIALOGUE EDITOR|
|Diana Fonseca||ASSISTANT EDITOR|
|Paulina Garcia||SOUND DEPARTMENT COORDINATOR|
|Alphaville & Astro||STUDIO|
|Annette Fradera||MUSIC SUPERVISOR|
|Mariana Uribe||MUSIC COORDINATOR|
|Martha Fritz||MUSIC COORDINATOR|
|MUSICA MUSIC 2002|
|Nick Cave||ORIGINAL MUSIC|
|Warren Ellis||ORIGINAL MUSIC + COMPOSER: THEME MUSIC|
|Nick Cave||VOCAL, PIANO, UKELELE, VIOLIN, VIOLA, LOOPS|
|Warren Ellis||VIOLIN TRUSSART, GUITARS, DOUBLE BASS, MANDOCASTER, MANDOCELLO, FENDER PRINCETON, ALESIS AIR, SYNTHESIZER|
|Nick Cave||MUSIC PRODUCER|
|Warren Ellis||MUSIC PRODUCER|
|Jake Jackson||SCORE ENGINEER & MIXER|
|The Ironworks en Brighton, UK, en Marzalo del 2011||STUDIO|
|Nick Coplowe||ASSISTANT RECORDER|
|Nick Nielsen||ASSISTANT RECORDER|
|Strongroom, Londres, Uken Marzo Del 2011||STUDIO|
|The Glass House, Ivry sur Seine, Francia||BASIC TRACKS RECORDER|
|Rachel Willis||PRODUCTION COORDINATOR|
|Atticus Ross||ORIGINAL MUSIC|
|Claudia Sarne||ORIGINAL MUSIC|
|Leopold Ross||ORIGINAL MUSIC|
|Kirk Hellie||ADDITIONAL GUITAR|
|Joe Barresi||PERCUSSION RECORDER|
|Cold Crest Studios||STUDIO|
|Shigeru Umebyashi||ORIGINAL MUSIC|
|Hiroki Kashiwagi||MUSICIAN V. CELLO SOLO|
|Sandro Friedrich||MUSICIAN: DUDUK|
|Koichiro Ishizaka||MUSICIAN: KANTELE|
|Yoshihiko Ishizaka||MUSICIAN: PIANO ARMONICO|
|Yu Manabe||MUSICIAN: VIOLIN|
|Manabe Strings||MUSICIAN: CORDS|
|Akane Irie||MUSICIAN: 1ST VIOLIN|
|Mikiko Ise||MUSICIAN: 1ST VIOLIN|
|Ami Taniguchi||MUSICIAN: 1ST VIOLIN + B341|
|Koichiro Muroya||MUSICIAN: 2DO VIOLIN|
|Shizuka Kawaguchi||MUSICIAN: 2DO VIOLIN|
|Yuko Kajitani||MUSICIAN: 2DO VIOLIN|
|Tomoko Shimaoka||MUSICIAN: VIOLA|
|Misato Futaki||MUSICIAN: VIOLA|
|Shinichi Eguchi||MUSICIAN: V. CELLO|
|Masutami Endo||MUSICIAN: V. CELLO|
|Masashi Kimura||MUSICIAN DOUBLE PASS|
|Toru Okitsu||RECORDING ENGINEER|
|Yuta Tateishi||ENGINEER ASSISTANT|
|Shangri- La Inc||MUSIC: ASSOCIATE PRODUCER|
|Victor Studio 302ST||RECORDING STUDIO|
|Exart Studio Tokio||RECORDING STUDIO|
|Shangri- La Studio Tokyo||RECORDING STUDIO|
|Ex LTD||MUSIC PRODUCTION|
|Kumiko Sekiguchi||MUSIC PRODUCER|
|Antony Partos||ADDITIONAL MUSIC|
|Sonar Music, Sydney||RECORDED & PRODUCED IN|
|Antony Partos||SYNTHESIZERS PROGRAMMER|
|Jono Ma||PERCUSSION PROGRAMMER|
|Naomi Radom||MUSICIAN: VIOLIN|
|Michael Lira||DOUBLE BASS GUITAR|
|Julian Sudek||MUSICIAN: PERCUSSION|
|W Radio Y Estadio W||SPORT COMMENTARY, COURTESY OF|
|TV Azteca||SPORT COMMENTARY, COURTESY OF|
|Grupo Televisa||SPORT COMMENTARY, COURTESY OF|
|CNN||NEWS FOOTAGES WITH CARMEN ARISTEGUI, COURTESY OF|
|Tu Rock Es Votar||PROMO, COURTESY OF|
|FIFA||FIFA FOOTAGE, COURTESY OF|
|SPECIAL ACKNOWLEDGEMENT & THANKS TO:|
Ricardo Martin Jauregui
Edgar Garcia Rivera
Asesor de secuestros Maximiliano
Noah Sansans Molto
Luis Sansans “El Tio”
Leopoldo Valerio Gout
Ines Celestia Gout
Andrea Martine Crowther
Camila Olin Mercado Martinez
Cesar De La Parra
Ximena y Mateo Rondon Bello
Carlos J. Bello Rosa
Alicia H. Bello
Andres Sanchez Maher
Ojeda Ojeda y Associados
Phil Gosiewski (CSC NYC)
Pedro Vasquez Bautista
Miguel Angel Blanco
Aurelien Pichod Ramses Gomez
Policia de Ecatepec
Subdirectora Academia de Policia de Ecatepec, Veronia Ordaz
Naomi Crespo Akari
Sandra Paredes Orihuela
Cristina Saavedra Akari
Guzman “El Bueno”
Daniel Birdman Ripstein
Armando Garcia Diaz de Leon
y todos en Gussi
Anton Monsted Fernando Perez Gavillan
Jon Kamen & Radical Media
El Barandal Post
Carlos Aguilar Zafra
Martha P.R. Mendivil
Eugenio Maillefert y Mewcal “El Buen Viaje”
Andrea Valeria Grautoff
Leon Garcia Soler
Leopoldo Gout Ortiz de Montellano
El Maestro Herve Schneid
Beto y Beneranda Rivera
Georgina “La China” Saldana
Eleonore de Prunele
Ricardo Aguado Fentanes
Café El Baristi
Portugesa Octavio Maya
Carlos Aguilar y sus Angels
Pablo Galindo Gout
Yolanda Gout Rebolledo
Cartucho & Don Lui Bunuel
|UNA COPRODUCCION MEXICANA- FRANCESA
A FRENCH- MEXICAN COPRODUCTION
DIAS DE GRACIA PRODUCCIONES
FIDECINE MEXICO, FONDO DE INVERSION Y ESTIMULOS AL CINE
CASA B PRODUCTIONS
CIUDAD DE MEXICO
SECRETARIA DE CULTURA, DF
How did you become a director?
I had always wanted to make films. I come from quite a literary family, so when I was small, I dreamt of becoming a writer. But I realized quickly that I had images, rather than words, in my head. So from quite a young age, I attended summer courses at film schools during my summer holidays. That’s how I learned, by working on sets. I became an assistant who did everything. In my final year of high school, I was allowed to make a short fiction film at my school. This was the first time that an audience saw my work. This gave me confidence. I created a production company and made advertising and videos for several years. I thought that this would bring me closer to my dream of directing, but in fact it had the opposite effect.
What was the tipping point?
When my wife became pregnant that really forced me to question my life. I asked myself, “What will I tell my daughter? That her father makes video clips? I’ve always wanted to direct films. It’s time that I got on with it.” I started by writing the script. I fed my questions and my fears into it: fear of the violence that ravages the country I love; fear that my loved ones could be kidnapped. What is worse under those circumstances? To be the one kidnapped, the prisoner, or the one on the outside, lost, without knowing how to save the person kidnapped? I’ve always wondered about the bond that forms between the hostage and the abductor. I have a friend who managed to convince his captor to let him go. Often, the guards are just kids who are being exploited. Finally, I wanted to talk about corruption within the police. How does this work? Paradoxically, so many join the police force with high ideals. But in Mexico, salaries are so pathetic, cops are ill-equipped, so psychologically it’s very tough for them to resist people’s hatred and the pressures of money.
How did the idea of the three time periods, the three World Cups come to you?
I like a movie to be both entertaining and complex. I wanted the audience to be swept away but also to leave thinking about it after they left the theatre. Therefore, I needed an elaborate form in order to take the spectators off-track. The soccer World Cup is a universal event with momentum, it creates maximum stress and commotion. Since I had three story lines--the cop, the hostage, the wife of the hostage--I needed three events to set a rhythm for all this, what better than a World Cup? When you add fear and football to the mix it can really raise the adrenaline levels.
The first time period, in 2002: The police
The character, Lupe, is an idealist who has his convictions, but finds himself embroiled in corruption that is way beyond his control. Through him, we discover how the system works and how one can be swayed. Generally, in kidnapping cases, we realize that the police are always getting mixed up in corruption.
We filmed this sequence first. It was the most complicated because it required the most sets. We spent the first day filming in the Fortress, a labyrinth of little streets which can only be accessed by foot. In the center, there’s an old church and a football pitch.
Before filming, Tenoch Huerta (who plays Lupe) went undercover to police academy for four months. He didn’t tell his colleagues until graduation day. During their training, his patrol took part in an operation there, which was included in an earlier cut of the film. There, he wasn’t acting, he was really in the thick of it. I love this actor and I hope that this role opens up some doors for him.
2006: The hostage
I had noticed Carlos Bardem in La Zona. He was the first Spanish actor who was completely believable as a Mexican. He’s usually cast as the villain, but I thought that he had really beautiful facial expressions. It’s a tricky part. His face is hidden, he’s tied up, and he’s immobile. We shot his scenes in a two weeks; it’s the last segment we filmed last. Kristyan (who plays Iguana) is marvelous. He was only 14 years old but he made me understand that I had to choose a younger actor to play Iguana than I had originally intended, in order for it to be more realistic. This was his first movie role. I think he is incredible, tender and strong.
2010: The hostage’s wife
I wanted to show that family stories, whether you are rich or poor, are never simple. Susana (Dolores Heredia) is an intelligent and cultured woman who lives in an artistic and privileged world. Her husband’s kidnapping is a rude awakening. She discovers her life was smoke and mirrors that her husband had lied to her about almost everything. But she saves him in the end, and she’s the one who will come out stronger from the ordeal.
I have always respected Dolores Heredia as an actress. She was perfect for this part, both attractive and dangerous. She shows how women are the strength of a family. Dolores put her heart and soul into the character.
How long did the shoot last?
There were several interruptions, but in all, it took 9 ½ weeks in total. We shot with two cameras, one that I held because I wanted to be in the middle the action. I told the crew, “Follow the actors, whatever their moves, I want to film 360 ˚. So please leave no marks on the ground or projectors in their field of vision.” They’ve been heroic.
In each period, there’s a different visual style and music composer...
The idea was to cue the audience that they were wading through three distinct storylines, three distinct time periods, but on a subliminal level. It’s not filmed the same way. The format of the image changes. The music has a different style. They are all clues. They’re there if the spectator wants to notice them; if s/he doesn’t, it doesn’t matter. Everything becomes clear in the end.
In 2002 the style is more on edge, the music is more brutal, and the light is harsher expressing heat, tension and violence.
In 2006 the light is very dim, tension is in the air, not so much in the camera movement. It’s a war of nerves. The atmosphere is more raw, more realistic.
In 2010 Susana is filmed in a fragments, with reflections. It’s the most stylized. We only filmed her face, simply, towards the end, when she finally takes control of her life. The music is softer, wider, it expresses expectations.
At the end, in each segment, all the preconceived notions we could have had at the beginning--about who the good or the bad guys are—are dissolved. None of the characters belong in the pigeon holes we had projected upon them at the beginning.
Who are the three composers?
For the 2002 period, I worked with Nick Cave and Warren Ellis. I loved their work for The Proposition and The Assassination of Jesse James. They created music that superbly integrates sounds, noises, urban and animal backgrounds, that only they knew how to create.
For the 2006 segment, I was lucky enough to have met Atticus Ross before he won the Oscar® for the The Social Network score. He worked on the feeling of fear, something more primal and visceral.
For the 2010 segment, I was able to collaborate with the Japanese composer Shigeru Umebayashi, who worked on one of my favorite films, In the Mood for Love. He’s a marvelous man and his music was the quietest and most sophisticated of the three.
And in order to weave the three together, there are three versions of the same song, the universally known Gershwin tune, ‘Summertime’, sung by three different women: Nina Simone, Janis Joplin and Scarlett Johansson, singing vocals in a cover by Massive Attack.
Much of the post-production was done with a French team and your film premiered at the Cannes Film Festival in competition. Where does your ties to France come from?
I have French roots on my father’s side which go back several generations. But it’s mostly my mother who adores French culture. She’s the one who decided that I should go to the French lycée (a high school for French expatriates originally) in Mexico. I’ve been speaking French ever since. It’s my second home.
For this film, I found my theme, the strength to go through it and the people who believe in me in Mexico. In France, I found the other half of the equation; an incredible family, a team that helped me bring my ideas to life: a French editor, a French sound mixer, French co-producer and a French colorist.
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