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Gael García Bernal is best known for his breakout roles in two of Mexico’s most consequential films, “Amores Perros” (2000) and “Y Tu Mama Tambien” (2001) but he’s also been directing these past years. Proof of his cachet
is having his third feature, “Hombre al agua” world premiere at the Venice Biennale and have its North American premiere at Toronto (TIFF).
The theme of class runs through “Hombre al agua,” as in his first two directorial outings, “Déficit” (2007) and “Chicuarotes” (2019). While “Déficit” exposed underlying class tensions at a party a wealthy teen throws to impress people, “Chicuarotes” centers on two working class teens trying to better their lives.
“I think class is undoubtedly a theme I’m drawn to, partly because the struggle has not been resolved. At the same time, class has been changing rapidly, with circumstances and public attention shifting considerably since I started working in cinema. So, it felt important to explore it, but also to question where we are we now and where we are heading,” he told Variety.
In “Hombre al agua,” García Bernal plays Camilo, a Cuban lifeguard who saves Abel, a Mexican businessman, from drowning. Grateful, Abel brings him to Mexico to work as his right-hand man and introduces him to his daughter, Juana, whom Camilo later marries. But he gradually realizes that his new life is part of a carefully orchestrated plan. As questions emerge about Abel’s motives, Camilo begins to piece together what is really happening and decides to take control of his future.
As the title suggests, roughly translated to “man overboard,” Camilo is adrift as his marriage falls apart and he tries to move beyond the lie he’s been living.
“I also wanted to explore the crisis of masculinity, the roles of men and women within a couple, and the experience of separation. I wanted to do all of this through comedy, with a kind of meta-cinematic playfulness, while also looking at the political landscape in Latin America today: where we are, what is happening and where we are going,” he said.
Reflecting on the impact of “Amores Perros,” he mused: “When it came out, it became something extraordinary and transcended time. Twenty-five years later, we’re still celebrating it.”
“I hope my film will also transcend time in some way, but that’s something we can never know. Only time will tell. I do hope it says something, because I think it is very relevant to the world we’re living in right now.”
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“It’s amazing how a film can affect people’s lives – not only the people who made it, but also those who watched it. That’s the wonder of cinema. There’s always a strange alchemy to it. So, I’m very aware, making ‘Hombre al agua,’ of how grateful I am to have this opportunity to make the film, to give it our best and to enjoy the process.”
Reflecting on all the great directors he’s worked with and the invaluable lessons he learned from them, he said: “From the first two directors I worked with, Alejandro González Iñárritu and Alfonso Cuarón, I learned the value of relentless effort and rigor and of making the most of every opportunity—always pushing to find that extra thing. I also learned from their complete involvement in their films, while understanding how to manage the frustration and disappointment that can come with that level of commitment.”
He also looks up to Walter Salles who directed him in the seminal “The Motorcycle Diaries.” “He taught me about friendship and the way he approaches work—with generosity, joy and a huge sense of camaraderie.”
“From Michel Gondry [“The Science of Sleep”], I learned that everything has to be worked out in front of the camera, like a play: instead of discussing it, let’s try it. And from Pablo Larraín [“No,” “Neruda,” “Ema”],” a kind of audacity – let’s just go for it, let’s try it, let’s break it.”
He started writing “Hombre al Agua” eight or nine years ago, enlisting Argentine playwright Mariano Pensotti to co-write it with him.
“The film isn’t linear, so I needed that support—the back-and-forth of ideas. He helped me put everything together, shape the structure and begin building the whole world of the film.”
His Latin American cast includes Esmeralda Pimentel (“Almost Paradise”), Debóra Nascimento, Natalia Oreiro and Jorge Salinas (“Amores Perros”).
It was shot mainly in the Mexican state of Yucatán, including locations near Mérida and a beach at Sisal, as well as in Mexico City. They also spent three days shooting in Havana in December.
“Cuba has its usual logistical challenges, but we had a very light schedule there, so it was quite easy and enjoyable. Havana was also important because it was the only urban setting we wanted to show in the film,” he said.
Securing financing was probably the trickiest challenge. Every time he tried to cast a Cuban actor to play Camilo, interest from investors would drop. In the end, the company he founded with Diego Luna, La Corriente del Golfo, produced it along with Cárcava Cine (“The Untamed”) and Stacy Perskie’s Redrum (“Spectre,” “Bardo”).
“Apparently, everything now has to be thoroughly and mathematically proven. But that’s impossible with film, because the nature of filmmaking is exploration. To paraphrase Werner Herzog, ‘if you want something completely factual, read a phone book.’ It’s very difficult today to convince companies to take a chance on an adventure, especially with original films that aren’t based on established IP. The film may look expensive, but fortunately we made it with very little money and we’re very happy with the result.”
Paris-based The Pool Films handles international sales.
