You know, we had some interesting reactions to the film. Certainly you cannot be in the middle. You like it or hate it.
Filmmaker: Why do you think that is? Do you think it’s more because of the form, or because of the violence and sex?
Naranjo: I don’t know! There’s skin, there’s an interest in the human body, and I feel we were very concerned about this being OK in today’s world. So, we paid attention to not exploit the actress’s body and look more toward the body of Noé, the male actor, and hopefully to neutralize the exploitative side. I hope no one sees the film for the nudity side. I don’t know if it’s even pleasant to look at.
Filmmaker: Drama/Mex and
I’m Gonna Explode both had a good amount of sex, but what’s changed since those films is having intimacy coaches on set. Did you have those?
Naranjo: There was no nudity rider. It was more in the old style, where a number of filmmakers get together and are trying to be respectful of the process. I had the great benefit of having Noé; I don’t know if US audiences know him, but he’s [won] the Mexican Academy Award I don’t know how many times. He’s a great actor. Noé’s generosity was truly towards the process. We knew there was going to be a sex scene, and we would have to go very strictly about it. There would be no playing around. So, in that sense, I distanced myself from talking to the actress specifically about it. I didn’t care what would happen, I just told her I really needed something that came out of her. The sex scenes were a gift from the actors to me: something I asked [for], something they did. I think they planned it very much between them. They knew I wanted to go in one take, to go chronologically, and we wouldn’t stop. I adapted to whatever they told me: “We are going to start here and go like that.”
A girl, a number of guns, also some cars: recombining knowingly archetypal elements from Gerardo Naranjo's first two features, Drama/Mex and I'm Gonna Explode, Kokoloko is delightfully loose and unconstrained. In Oaxaca, Marisol (Alejandra Herrera) loves Mundo (Noé Hernández), much to ...
filmmakermagazine.com
