{"id":3754,"date":"2026-07-08T07:06:02","date_gmt":"2026-07-08T07:06:02","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=3754"},"modified":"2026-07-08T07:06:02","modified_gmt":"2026-07-08T07:06:02","slug":"the-kitchen-director-alonso-ruizpalacios-at-bam-we-need-more-trojan-horses","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=3754","title":{"rendered":"\u2018The Kitchen\u2019 Director Alonso Ruizpalacios at BAM: \u2018We Need More Trojan Horses\u2019"},"content":{"rendered":"<div>\n<div>\n<!-- do not apply CSS styles to this element! --><\/p>\n<div>\n<p>\n\tHis masterclass started an hour late after Colombia\u2019s FIFA World Cup clash with Switzerland went to penalties, leaving the opening-day crowd at the Bogot\u00e1 Audiovisual Market (BAM) visibly deflated over its eventual loss. Taking the stage before the subdued audience, Mexico\u2019s Alonso Ruizpalacios acknowledged the collective disappointment by turning to Elizabeth Butcher\u2019s poem <em>One Art<\/em>.<\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=3752\">Dwayne Johnson Laughed \u2018So F\u2014ing Hard\u2019 When He Saw the Memes About His \u2018Moana\u2019 Wig: \u2018It Was Very, Very Funny\u2019<\/a><\/p>\n<p>\n\t\u201cI found refuge in it when Mexico lost, too. I\u2019ll read it and see if it speaks to you the way it does to me,\u201d he said, before reciting the poem in full, which begins:<\/p>\n<p>\n\t\u201cThe art of losing isn\u2019t hard to master; so many things seem filled with the intent to be lost that their loss is no disaster.\u201d<\/p>\n<p>\n\t\u201cI\u2019m not much of a soccer fan\u2014I swear, I\u2019m really not\u2014but I\u2019ve had to become one because of my sons\u2019 obsession with the game. And I think one of the most valuable things they\u2019ve learned through it is how to lose. How to lose with grace,\u201d he went on.<\/p>\n<p>\n\t\u201cIt strikes me as an incredibly important lesson, because losing is far more common than winning,\u201d he said, adding: \u201cI think that\u2019s certainly true in filmmaking as well. For me, one of the greatest lessons has been learning how to lose: accepting that a film won\u2019t always meet your expectations, that you won\u2019t win a grant, that you\u2019ll have to start over and try again. It\u2019s about becoming resilient. I suppose that\u2019s something you gradually acquire over the years.\u201d<\/p>\n<p>\n\tSpeaking to <em>Variety<\/em> before his BAM Talk, presented by Mediapro, Ruizpalacios talked about his upcoming adaptation of Carlos Fuentes\u2019 novel <em>Aura<\/em> for Netflix. \u201cI\u2019m approaching it not as a literal, page-by-page translation of the novel to the screen, but as a reinterpretation of it.\u201d<\/p>\n<p>\n\tOn his adaptation of another novel, <em>The Transmigration of Bodies<\/em> by Mexican writer Yuri Herrera, which he deemed \u201cone of the finest novelists writing today,\u201d he said: \u201cIt\u2019s set during an epidemic \u2013 a fictional one \u2013 but it inevitably brings COVID to mind, even though the novel was written before the pandemic, it turned out to be almost prophetic.\u201d<\/p>\n<p>\n\t\u201cBut it\u2019s an epidemic of sadness\u2014of something that\u2019s never quite defined. Against that backdrop, the story unfolds as a kind of <em>chilango<\/em> noir\u2014that is, a Mexico City noir. It\u2019s deeply rooted in the atmosphere and character of Mexico City.\u201d Presented at the Berlinale Co-Production Market earlier this year, it already has five co-producing countries attached, he said, naming Spain, France and Chile among them.<\/p>\n<p>\n\tReflecting on his four movies, which BAM was honoring with a retrospective, starting with his career-launching \u201cG\u00fceros,\u201d he mused on what he calls his \u2018problem child\u2019, the black &amp; white \u201cThe Kitchen,\u201d which was \u201cchallenging from start to finish.\u201d<\/p>\n<p>\n\t\u201cRaising the financing was especially hard. It took many years. We\u2019d finally get someone on board, and then the deal would fall through. Filming was difficult too, because coordinating actors from different parts of the world and bringing them together in one place was incredibly complicated. We had everyone together for a month before shooting began\u2014we spent an entire month rehearsing. Making that happen was difficult, but it was something I really wanted: for the entire cast to rehearse together before filming.\u201d Finding distribution in the U.S. was even more of a challenge, given its immigration theme, he added.<\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=3750\">Karim Kassem Broaches Migrant Issues in Lebanon With \u2018Pipes\u2019: \u2018A Lot of People Are Being Affected by War but We Don\u2019t See the Whole Picture\u2019<\/a><\/p>\n<p>\n\tSpeaking about co-production at his BAM Talk, he said: \u201cI think it\u2019s simply the reality of filmmaking today. Every time you watch a film now, the opening credits list co-producers for what feels like 10 minutes. It\u2019s just the way things are \u2013 there\u2019s no getting around it.<\/p>\n<p>\n\t\u201cThere\u2019s something fundamentally right about working that way. We\u2019re no longer living in a time when public funding alone could finance an entire film. Those funds are becoming smaller and smaller, so you have to piece together financing from different sources. There\u2019s also something deeply stimulating about that process. It\u2019s the only way to survive if you\u2019re making non-mainstream, non-hegemonic cinema. If a streaming platform isn\u2019t paying for your film, this is the only viable path.\u201d<\/p>\n<p>\n\t\u201cIt\u2019s also the only way to stand up to dominant commercial cinema, which, honestly, I think is at one of its lowest points. I genuinely believe Hollywood cinema has reached\u2026 a breaking point,\u201d he said, lamenting the abundance of sequels, spin-offs, reboots and the like.<\/p>\n<p>\n\tAsked what he thought about the thorny issue of AI and its creeping dominance, he said: \u201cFirst, I genuinely love what I do. I love writing. That\u2019s why I find this rush toward artificial intelligence unsettling. As a tool, it\u2019s perfectly fine. But this wholesale embrace of it \u2013 the almost frenzied enthusiasm \u2013 strikes me as dangerous. It feels like we\u2019re shooting ourselves in the foot.\u201d<\/p>\n<p>\n\t\u00a0\u201cWhat AI doesn\u2019t really account for is that the point isn\u2019t only the result\u2014the point is the process. That\u2019s what the human experience is. The human experience lives in the process. I love sitting down to write. I love searching for exactly the right word, rewriting a sentence, opening a thesaurus, flipping through a dictionary of synonyms, and finally finding the precise word I\u2019m looking for. That process gives me pleasure. So, this obsession with efficiency \u2013 with the bottom line \u2013 doesn\u2019t interest me at all. I don\u2019t think life is about saving time. Saving time for what? The whole point is to spend it doing what you love.\u201d<\/p>\n<p>\n\tHe called for more independent cinema as \u201calmost an act of resistance.\u201d<\/p>\n<p>\n\t\u201cWe can\u2019t simply make films that only cinephiles will watch. I think we have a responsibility to engage audiences \u2013 to help re-educate them, in a sense. That\u2019s incredibly important.\u201d<\/p>\n<p>\n\t\u201cWhat we need are Trojan horses,\u201d he pronounced. \u201cI\u2019m a great believer in the Trojan horse. By that I mean what Martin Scorsese has described about Hollywood directors of the 1940s and 1950s. Many of them were European filmmakers who came with genuine artistic training and a real artistic vocation, but they found themselves working within the entertainment industry. So they had to smuggle anti-establishment ideas, political thought and complex artistic content inside the framework of commercial entertainment.\u201d<\/p>\n<p>\n\t\u201cI think we need to create more Trojan horses today\u2014works that can exist within streaming platforms, for example. I even fantasize about making a film for TikTok someday: a movie you would watch in 15-second episodes that gradually builds into something larger. I don\u2019t know exactly what that would look like, but I think there\u2019s something worth exploring there, he said, adding: \u201cI no longer think it\u2019s enough to make contemplative films, however beautiful they may be. I love those films \u2013 they\u2019re a refuge for me \u2013 but I think we also need to find new ways of reaching people where they already are.\u201d<\/p>\n<p>Read more <a href=\"https:\/\/relocationobserver.com\/?p=3748\">Disney and Luxury Fashion Brand Ganni Continue Partnership With Daisy Duck Collection (EXCLUSIVE)<\/a><\/p>\n<p>\n\tThe 17th BAM edition runs over July 6-10.<\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Mexico\u2019s Alonso Ruizpalacios discussed coping with loss, the need for more Trojan horses and the perils of AI at his BAM Masterclass.<\/p>\n","protected":false},"author":1,"featured_media":3753,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[3045,179,3079,3080],"class_list":["post-3754","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-bam","tag-berlinale","tag-bogota-audiovisual-market-2","tag-gueros"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - 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