網站導覽

青春B-Side次物語

買給我一把槍

Buy Me a Gun
導演

胡立歐・赫南德茲・柯登 Julio Hernández CORDÓN

資訊
輔15
台灣首映

墨西哥 Mexico、哥倫比亞 Colombia | 2018 | DCP | Colour | 84min

影片介紹

墨西哥的近未來,女人、植被跟希望都荒蕪,黑幫、球棒與槍桿子猖獗的年代,小女孩哈克和父親以露營車為家,當父親在白粉蒸燃的幻魅裡放大苟活的欣快,她的童年則被活埋在床單和面具下,生存慾望和血性卻在體內悄悄上膛。紀錄片般的寫實風格雜混著超現實色彩的末日景象,猶如《瘋狂麥斯》裡法治憐憫稀薄的世界,亦似《蒼蠅王》孩子建制與奪權,真理人性雙雙墮落的寓言和預言。

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.

導演
胡立歐・赫南德茲・柯登 Julio Hernández CORDÓN
導演介紹

胡立歐・赫南德茲・柯登,1975年生於美國北卡羅萊納州,生長於墨西哥、哥斯大黎加、瓜地馬拉,同時身兼導演、製片與編劇。其長、短片常以紀錄片風格拍攝,選用素人演員,並曾獲盧卡諾影展、多倫多影展與聖塞巴斯提安等影展獎項。

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

導演的話

我想藉由《買給我一把槍》這部電影,向所有在童年時期滋養我想像力的故事致敬。其中包含了七個元素:《頑童歷險記》、《瘋狂麥斯》、《蒼蠅王》、棒球、《彼得潘》裡迷失的男孩們、荒蕪的地景、黑道電影。起初我想改編《頑童歷險記》,不過是將背景設定在如同喬治•米勒電影裡那般的未來末日異境。顯然也會以極簡而抽象的方式去拍攝。

此時,有個讀了劇本的人對我說,主角應該要設定為女孩。我馬上放棄了改編馬克•吐溫的念頭,並想起了我的女兒們。我想製作一部電影、幾乎就像是寫一封信;一位自知不完美但深愛自己孩子的父親。她們唯一能從他那繼承的,就是他的運氣與生存本能。我個人認為,《買給我一把槍》是一個在不屬於任何法律或政府的框架下,被強者支配而且除了逃離死亡外,一切都毫無意義之異境的愛與父愛的故事。這個故事同時也是一個契機,使我得以探討無法無天、野蠻、人民視體制於無物,以及性命被掌握在罪犯手中的墨西哥。製作電影的過程裡,對白與演出大多是基於即興創作;沒有經過排練,而演員們中有八成都是素人。


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。


這過程的故事後續發展非常幸運:我們在墨西哥與哥倫比亞都找到了資金。為了決定確切的執行方式、地點、場景調度、色調以及角色,我們來到了埃莫西約 (這部電影的拍攝地點)。能與胡立歐一起度過這個創作過程真的很棒,我們一一為可能發生的各類問題都找到解決方法,也尊重胡立歐信手捻來就即興的風格。再來便是拍攝:沙漠、大海、河流、棒球場、道路、臨時演員們、一台直升機,眾人在沙漠中開了一場派對,與音樂家們一起綵排。有時太早,有時又太晚。有時太熱,其餘時間則太冷。而風時常太大。也許聽起來簡直就像一場災難,但卻真的是一個美好的過程。與女孩相處這麼久,看著劇組照顧她們是一種獨一無二的經驗,加深我們作為一個團隊的情誼,更讓我們堅毅地完成一部能引起共感的美好電影之決心。

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.

【電影預告】

 

【電影劇照】

分享
分享到 line
返回頂端