With 12 Oscar nominations under his
arm, on Friday he reaches the Spanish cinemas The Reborn (The Revenant), the
new film by Alejandro Gonzalez Inarritu. A raw and brutal story of survival
starring Leonardo DiCaprio, highlights the director, is by no means devoid of
spirituality and mysticism.
"There is a very strong spiritual
dimension to the film," Inarritu acknowledges that in an interview with
Europa Press said his film, the story of a man wounded and abandoned in the
middle of the wild nature shows nothing forces to survive it is nothing more
than "a metaphor for life."
"There is a character that is
losing all that is dying and constantly being reborn. It's a metaphor for life,
in which we die and are reborn many times for many events," said the Mexican
filmmaker who in this most personal and risky project wanted to recreate with
total and absolute fidelity and crudity spiritual growth through suffering,
physical pain. All it embodied in the trapper and explorer Hugh Glass, a real
character who gives life Leonardo DiCaprio.
And with the reborn of (The Revenant)
Iñárritu seeking more than tell a prodigious adventure survival, you want to
plunge the viewer into the harsh reality of his protagonist as he perceives it:
"It is to know the character of their reality, a reality that has to do
with the unconscious, with dreams. In know how he feels for life rather than
for how it is in reality. Being in his mind, in his dreams and knows what that
man thinks. "
Filmed during months the snowy
mountains of Calgary (Canada), El Reborn (The Revenant) was such a tough shoot
as complex, a feat after getting these brutally beautiful and long shots,
filmed all with natural light, which Iñárritu He was required to tell this
story of survival and revenge.
"The logistics were very
complicated: low temperatures, inaccessible terrain and very complex scenes
with very few hours of light and with a difficult choreography" all
subject to the "vagaries" of nature - "a negotiation in which
just always lose" , says the director and with the aim of achieving
excellence in each plane.
"We ourselves we got some big
ambitions, a very high standard and strive to get that every day was a very
large and heavy battle but it was worth," says the Mexican filmmaker who
says the challenge, the challenge of shooting complex excited him.
An enthusiasm he shared with the star,
Leonardo DiCaprio, who accepted these conditions as a fundamental part of the
project. "When it comes to home Leo understood perfectly what the
implications were. When one embarks on a trip like this may not think that
there will be no such issues. From the beginning we share very openly what we
need, I told him very specifically what I would do and what it would require, "says
Iñárritu who insists that the actor" took it as a great opportunity.
"
"I think that great difficulty
excited him was what encouraged him to participate and share that enthusiasm
for the project from the beginning", reveals an Iñárritu recalling the many
challenges they had to overcome every day to push through such a complex
shooting and ambitious with everything indicates that, at last, DiCaprio will
get that coveted Oscar for best actor.
And if complex was shooting, so it was
the historical context in which the story of Hugh Glass is framed. And
precisely that was another attraction that caught the attention of Iñárritu.
"I read the first draft of history written by Mark L. Smith about six
years ago and liked the backbone of the film and especially its context,"
said the Mexican filmmaker who took time to "completely rewrite the
script" and give their approach.
To do this, remember, read a lot about
wild nineteenth-century America, a time in which man and nature kept ",
almost impossible to imagine in our world of cement and air conditioners very
close relationship."
It was also, she says, "a country
with great complexity" which lived in unfamiliar territory British,
French, Canadian, Mexican, Spanish ... and indigenous peoples, in which the fur
trade was the main source of wealth and therefore also conflict.
"There was a big racism, a great
fear of others that almost destroyed the native population," says Iñárritu
he found in Odyssey Hugh Glass, who was attacked by a bear and had to survive
for weeks in the middle of a totally hostile place, “a fascinating story of
survival in an interesting context.”
