胡立歐・赫南德茲・柯登 Julio Hernández CORDÓN
墨西哥 Mexico、哥倫比亞 Colombia | 2018 | DCP | Colour | 84min
Women are disappearing in México; Huck wears a mask to hide her gender. She helps her father, a tormented addict who tries to protect her as best he can, to take care of an abandoned baseball camp where the narcos gather to play. With the help of her friends, a group of lost boys, Huck has to fight to overcome her reality and to defeat the local capo.
Julio Hernández CORDON is a Meso-American filmmaker. He has been involved in six films and attained critical acclaim for directing the Gasolina (2008), Polvo (2012) and Te Prometo Anarquía (2015). Buy Me a Gun (2019) is his 7th feature film.
2018 納沙泰爾奇幻影展跳出框框獎 Outside the Box Award, Neuchâtel IFFF
2018 聖賽巴斯提安影展 San Sebastian IFF
2019 聖地牙哥拉美影展最佳影片獎、最佳導演獎 Best Film Award, Best Director Award, San Diego Latino FF
讀過《買給我一把槍》的劇本後，我跟胡立歐見了面。我們談論棒球和大聯盟的賽事，談論我們都很喜歡的柑橘農夫隊、庫利亞坎番茄隊及墨西哥紅魔鬼。與胡立歐建立連結並理解這部電影對他的意義一點也不難。他一開始便非常明確的表示，他想要與自己的女兒合作。我們被他話語裡對她們的愛說服，決定賭這一把。完成預算計畫書後沒多久，我們收到Los Cabos電影節創作發展工作坊的邀請。我們在那裡非常幸運地遇到了Diana Bustamante，她看完這部片的計畫後，馬上連同她製作公司Burning Blue及製作人Jorge Forero一同加入了我們。
With “Cómprame un revólver” I wanted to make a tribute to all the stories that fed my imagination when I was a kid. These elements are seven: Huckleberry Finn, Mad Max, Lord of Flies, baseball, the lost boys of Peter Pan, desolate landscapes and gangster movies. Initially, the idea was to adapt the novel, The Adventures of Huckleberry Finn, but to set it in an apocalyptic future as found in George Miller´s movies. This would obviously be filmed in a minimalist way.
At this moment, someone who read the script told me that the main character should be a girl. I immediately dismissed the idea of an adaptation of Mark Twain and thought about my daughters. I wanted to make a film —almost a letter— from a father who knows himself imperfect but deeply loving towards them.
The only thing this man has that could be inherited is his luck and his survival instinct. I personally think “Cómprame un revólver” is a story about love and fatherhood within the framework of a place without rules or government. Where the law of the strongest reigns, where nothing matters except trying to escape death. This story is also an excuse to talk about that lawless and savage México in which institutions are invisible; in which people’s lives depend upon the mood of criminals. In terms of the making of the film, the dialogue and mise-enscène were built from improvisation. There were no rehearsals and 80% of the actors are non-professionals.
I met Julio after reading the script of “Cómprame un revólver”. We then talked about baseball, about specific plays of the major leagues, about the Naranjeros of Hermosillo, the Tomateros of Culiacán and the Red Devils. We are big fans. It was easy to connect with Julio and to understand what this movie meant to him. From the beginning, he was clear that he wanted to work with his daughters, a decision we decided to bet on, convinced by the security and the love with which he spoke about them. Shortly after designing the financing plan and beginning the adventure of finishing funding, we received the invitation of Los Cabos International Film Festival to participate in a project development workshop. There, we had the great fortune of meeting Diana Bustamante, who after reading the project, immediately came on board with her production company, Burning Blue, and her partner and producer, Jorge Forero.
The rest of the story was a very lucky one: we funded the film both in Mexico and Colombia. We visited the city of Hermosillo (where the film was made) in order to make precise decisions in the realization, locations, mise-en-scène, colors, characters. It was great to walk along with Julio through the creative processes. We managed to find possible solutions to the problems that showed up, always trying to respect Julio Hernández´ way of working through constant improvisation.Then came the shooting: the desert, the ocean, the river, the base fields, the roads, all the extras, one helicopter; creating a party in the middle of the desert, rehearsing with the musicians; sometimes too early, sometimes too late; sometimes too hot, other times too cold. Often too windy. It may sound like a disaster, but it was a wonderful process, really. Living with the girls for so long, watching the crew take care of them, was a unique experience, which reinforced our camaraderie as a team and our will to make a film full of magic in a universal language.