DEED NEWS (December 17, 2022) – Alejandro Loayza Grisi‘s “Utama” premiered in January 2022 at the Sundance Film Festival, and went on to win the grand jury prize in the world dramatic competition. “Utama” has been nominated for a Goya in the Best Ibero-American Film category, and represents Bolivia for best International feature film at the 95th Academy Awards.
An exclusive interview with director Alejandro Loayza Grisi about his film “Utama” was released on DEED NEWS’ official YouTube channel (@deednews) on December 12 as part of the interview series “DEED NEWS asks”. The series is created by Editor-in-Chief Navid Nikkhah Azad, and it features exclusive interviews with well-known film figures.
Alejandro Loayza Grisi discusses “Utama”:
Tell us about yourself.
My name is Alejandro Loayza Grisi. I am the director of the Bolivian film, “Utama”.
A film’s title offers us a glimpse and a first impression before we get to watch them. What are your thoughts on the name of your film, “Utama”?
“Utama” translates to “our home” in English. It’s a lovely title, in my opinion. I believe it’s a fascinating term with a lovely tone, and it may be it. There is no need to translate the title. It gives you a little bit of curiosity. So, you’re always going to be searching for what it means, and a meaning for the title. That was one of the things I really liked about the title.
How did you come up with the film’s title, “Utama”?
Finding a title is always easy. In the case of “Utama”, it came across in the very first drafts of the script, and it was suggested by my father. He’s also a filmmaker, and was part of the production team in “Utama”. It was very nice to have the name “Utama,” which was the name of a store my grandmother used to own. I like that about the title. It also stands for OUR HOME in English. I think it fits the movie well because it explores the theme of belonging. It speaks to you as a viewer in terms of “where do you belong, what’s your home”. It’s just a place where you live with your family; it’s a feeling; it’s a place on Earth. I also think it’s our EARTH, our HOME IN THE WORLD.
How is the concept of our home globalized in “Utama”?
I think that in “Utama”, OUR HOME can mean a couple of things. First of all, I think it’s the feeling of Virginio belonging to this place, where they have always lived. It’s the same feeling as the feeling of being together. HOME can be also a feeling with another person. I think that’s the most powerful meaning of HOME—where you feel safe; where you feel comfortable—and that can be a person. So, a person can be a HOME. I think that Clever is searching for a HOME for himself to understand better where he comes from. I also think, as you put it, the term OUR HOME is globalized. I think “Earth is our home”, and we don’t always remember that. In my opinion, it’s a very nice perception of the title.
Is “Utama” about OUR HOME dying?
I wanted the film to speak about “how our home is dying”. When Virginio climbs the mountain, he speaks to HIMSELF; he speaks to the MOUNTAIN; he speaks to NATURE; he speaks to OUR HOME. He says, “you’re dying! You’re dying!” and that was something I really wanted to show in “Utama”.
Is the plot of the movie based on real events?
The story of “Utama” was not inspired by personal events or characters. Since you invest so much time into each screenplay, I believe that it is inevitable that you will include elements of your own life into the stories you tell. The starting point for “Utama” was a love story: a story between two persons that had only each other, only needed each other. They were isolated but they were happy with what they had. The story was set to take place in the Bolivian Highlands, but at first it took place in a rainy part of the mountains, closer to the Andes mountains. But then I traveled all around Bolivia making many documentaries, specially a documentary series called “Planet of Olivia”. I think it was there that I finally found out what the story needed to tell. So, I connected this tale of love with this place on earth, which is dying.
How difficult was it to get where you are today with “Utama”?
I believe that every film has big challenges. It’s not easy to shoot a film, to end a film. It’s not easy to write a film. Every stage of a film has its own challenges. For me it was very difficult to write since I come from the world of photography, images, and pictures. They always come easy to me but not that much dialogues and words. So, it was my first experience writing and re-writing an entire script. The re-writing process was very challenging. And Financing in a country such as Bolivia is always challenging; I guess that happens in every part of the world. When we got to the pre-production phase, we discovered that we had a very limited budget, which meant that we had to use our budget intelligently. My brother and Federico Moreira, who were the producers, did all in their power to get the set ready for filming in such a manner that would allow me to work in comfort, and together, we got the movie ready in every way. Therefore, we were able to put all 27 of our available days on filming. It is difficult to work in a very isolated place, it is difficult to work with non-professional actors, and it is difficult to work with people of a certain age. Luckily for us, we didn’t run into any major issues, as any technical issues that we might have run into would have resulted in a week’s worth of production being halted. I suppose we got fortunate, but we also did a lot of groundwork, and I like to believe that my years of experience in the film industry gave me an edge as a first-time director. I started off as a still photographer and spent a lot of time in the role of director’s assistant. Finally, I feel like I have a firm grasp on the art of coordinating with a team. I believe I went into the shooting process with a distinct edge.
Why did you choose to center “Utama” on an indigenous couple?
Bolivia is a very big and complex country. We have a lot of different ethnicities, a lot of different indigenous groups. But our population mainly lives in the city. I have lived my entire life in the city. I have benefited from living in two cities. I was first in La Paz, which is at 3,600 meters above sea level, and then Santa Cruz, which is a tropical City at 200 meters above sea level. I think what changed in my life was being able to travel all around Bolivia and getting to know many different indigenous communities and many different realities. When we decided to shoot “Utama” in the southwest of Bolivia, I spent many months there, talked with the people there, learned from them, and we worked the final version of the script together. I wanted the film to be as faithful as it could to the reality they have, to the traditions they have. Luckily, the community was very open and they received us with open hearts. They are very generous and beautiful people. When we premiered the film there in Bolivia, it was a beautiful event. They were able to get the distinct impression that the movie was about them, that the people in it spoke to them, and that the reality that the movie depicts is an essential reality that should be shown on screen. Because of this, the fact that I was able to share my tale with the rest of the world is something that naturally fills me with a mixture of pride and happiness.
How did you cast “Utama” leads, José Calcina and Luisa Quispe?
We had a very extensive casting process while traveling across the area. Due to the size of the area, it is possible to drive for two hours without coming across another person, and it may take you the same amount of time to go from one town to the next. Therefore, we traveled around the town and knocked on every door, asked for senior citizens, and performed some brief acting exercises based on previous auditions. But from the moment I laid eyes on Luisa, when I saw her standing outside her house, I knew that she was the one for “Utama”. I thought that she has a great deal of charm. She conveyed a great deal with only a look from her. Then, when her husband walked out, who was also extremely good-looking and quite strong, I asked her if she wanted to be in the movie as soon as I saw how she looked. Therefore, I don’t believe it to have been a simple decision. When I first began practicing with them, I immediately felt a little bit tense and a little bit stressed out. But then he recognized it, and came to me, and in a voice that was quite comforting, said to me, “Alejandro, don’t worry! We are actors now! We’re gonna do it in the best way!” I believe that we were able to establish a relationship that is rather strong. I adore them, and I’ll always be grateful to them for what they have achieved with the characters, and how much heart and soul they have invested in “Utama”.
Why did you cast main characters from the Quechua community?
In Bolivia, we don’t have a film industry at all. It’s a very small group of of people doing their best. So, we don’t have many professional actors to choose from. I also think that it was the best way we could have ever done this film. It was only possible with non-professional actors; with natural actors; with people from the community because they could relate to the story. I wanted to tell a story about their community, so it was really important for me to have them as part of the film. The producers were always there to support me and they were the ones who led me to these individuals; in retrospect, I believe that this was the only possible way. It was risky, of course. However, this is exactly how things should have played out.
What made you cast amateurs in the main roles?
I believe that there was something that really aided the whole process; not just the filming itself, but also the chemistry that can be seen and felt on screen. The fact that they [José Calcina and Luisa Quispe] are married, as well as the fact that they have such a deep comprehension of, and familiarity with, one another. And it, of course, was helpful to me as I was going through the rehearsal process. When they were alone themselves at home, they would practice, and they were always there to encourage and support one another. Consequently, it was an extremely significant benefit that we enjoyed while we were filming. My opinion is that the roles did not have a negative impact on either their relationship or their life as a whole. I believe that having reached their 80s was a wonderful experience to have had. We had a great time together. Everyone there was just having a good time with everything that was going on. The whole process of filming was filled with joy, and I believe it’s something that stays with you. That will be in each of our hearts forever, on behalf of the whole cast and crew, and I prefer to think of it in that manner. And for them, it was not easy to see themselves in the roles of other people, particularly, if I may say so, to see her husband and her wife in the roles of other characters that were not themselves. It was difficult for them to argue with one another, and it was impossible for them to behave in a manner that was even somewhat disrespectful toward one another at some time. However, since the job that we performed was quite professional, they were aware that we were acting out a part. My impression is that it was a really easy and pleasant procedure that we shared together.
Did you want viewers to follow the signs and symbols to understand the film’s layers?
In general, I believe that symbolism is the most important aspect of art, and I also believe that symbolism is important in many other aspects of life. My view is that the very foundations of our civilizations are constructed on symbolism as much as mythology. This is a very important piece of wisdom that was given to me by my father. If you want everything in the movie to have some kind of significance, you can’t simply throw anything in there at random. You need to give it a lot of thought as to why it is in that place, why you are using that color, why you are using that camera angle, and why you are using every piece. And, of course, all of these old civilizations that have survived to the present day. They still have a strong devotion to mythology and symbolism, which is something that is present in our cities as well, and this is something that is a positive thing. But I believe it has undergone significant change, and I believe that our myths and our symbolisms are now very different. Since it is a film that is tied to Earth, connected to symbolism, and connected to mythology, naturally, everything that we utilized in the film was extremely carefully considered before being implemented. For example, the Condor is the one that stands out the most because to its visibility. In Andean culture, the condor is considered a holy bird because of its association with the afterlife. It also has a connection to life via the many cycles that life goes through. As a result, we conducted an extensive amount of research to ensure that every component that was included into the movie had a specific purpose.
In your film “Utama”, what are the most important keywords?
Every communication in “Utama” is an important key because the movie, in a sense, is about communication and miscommunication. I believe that the relationship between Virginio and Clever, as well as the relationship between Virginia and Clever—the missing son and the absent father—is significant. It has significance for the whole of the movie and for each of the characters. Considering that this is a movie about communication, I believe that each and every sentence, as well as everything else that we included in the movie, needed to convey. And as I said before, I started out with still photography. Therefore, when it comes to still photography, you only need a few components to express a great deal. I believe that having access to cinematography and film as a tool opens up a greater number of doors for communication, and having the ability to use a film as a tool is a big part of that.
Can you talk about the roles that Language, Communication and Silence play in your film “Utama”?
I believe that the three concepts of “language”, “communication”, and “silence” are also extremely powerful components of the culture of my nation. I am originally from the nation that made me become more concerned about it. Bolivia is a highly rich nation not just in terms of culture but also in terms of the traditions that have been passed down through the generations. However, it is also a nation in which it may be difficult for us to comprehend one another, which is something that worries me. When I went around Bolivia, I was able to understand that the differences between us, despite their seeming magnitude, are quite little when weighed against the magnitude of the relation we have and the similarities we appear to share on the surface. “Language”, “communication”, and “silence” are, I believe, what most clearly differentiate the two primary protagonists in this movie from one another. You addressed all three of these concepts. Additionally, it is what characterizes Bolivia, and not in a positive manner at all. They are not adept at either communicating or being silent; both of these skills are being poorly used by them. I place a great deal of significance not just on these three aspects of the movie, but also on the way I understand human interactions. Specifically the relationships between guys, as well as how I see my nation.
How do the main characters in “Utama” deal with transitions?
I believe that change is inevitable. Changes are unavoidable, and it may be challenging to adjust oneself to new circumstances. My impression is that Virginio is one who is highly resistive to change in this regard. He does not want things to progress, alter, or undergo any other kind of transformation. Because of this, he gets into arguments on a regular basis with both his son and his grandson. It seems to me that Sisa has a stronger grasp on the concept of transformation. Now, unfortunately, the massive changes that are occurring right now, and the most important of them is climate change. Therefore, we should not agree to such alteration. That is not a change that we need to just accommodate by making the necessary adjustments. And in this sense, I believe that Virginio is an evidence, not only Virginio but also Sisa; about the proof of resistance. In addition, I believe that we are not conscious of the fact that these shifts are already having a very sad impact on individuals. We are still living quite well in the cities and have not made any significant lifestyle adjustments. I believe that it is important to give some serious consideration to changes at all times. We react in a very peculiar and unique manner to changes. It is usually apparent that individuals are becoming older, and as they do, they become more resistant to changes. It is a part of the mystery of the world that we will never know if the changes are for the better or for the worse.
Is “Utama” urging viewers to choose between tradition and modernity?
I didn’t want anybody, especially the audience, to feel like they had to choose between modernity and tradition. I believe that they won’t have any trouble getting along together. I do believe that we will be able to make them co-exist with one another if we are resourceful enough. If we don’t, modernity is going to take the place of our traditions, and I believe the answer to the previous question about changes is also related to this one. If you are astute, we are going to be able to adjust to the changes; we are going to be able to comprehend the changes and figure out how to make them coexist. The way in which these bridges are lost, the way in which we lose, and the way in which we have a tendency to lose Bridges rather than construct them across generations is a very significant theme for the film. I believe that Virginio’s relationship with his son has deteriorated to the point that there is no longer any communication between them; as a result, Virginio and his grandson do not share a bond. As a result, the fact that the movie concludes with this link is of utmost significance. Therefore, it indicates that the bridge has been repaired, which was something that I felt was essential to include in the movie.
How did the Quechua community react to your movie “Utama”?
Fortunately, the Quechua community had a very positive reaction to the movie when it was released. Santiago de Chuvica was the location chosen for the debut in Bolivia, as I said before. It was a lovely setting for the shooting of the whole movie, which took place at this location. Not only did they invite individuals from neighboring towns in the area, but they also welcomed those who had previously lived in the communities but were now moving to the metropolis. Because it was such a large event, with over 400 people in attendance, we brought along a large sound system and projector. They had the impression that the movie belonged to them. This was incredibly significant to us since they served as both the most important and most honest of our judges. It makes us delighted to know that they are pleased with the movie, which I believe they are. I believe that younger generations in Bolivia, and perhaps across the rest of the globe as well, are less likely to frequent movie theaters. But I believe that the film has accomplished one of the goals that we had with the film; that goal was to start a debate about climate change, climate migrants, about the people living in the countryside in Bolivia, as well as about generations and languages and a great deal of culture. I believe that this goal has been accomplished. Therefore, I believe that even if you just have a few of young children who see the film and allow it to affect them in the way that they view life, then the film was successful. In my opinion, it is exactly the right amount for two people. It’s possible that’s all that’s needed given that any of these two people has the power to alter the course of history.
How did your professional background shape “Utama”?
Coming from a background in still photography and having worked as a cinematographer, I had a lot of tools to work with when I directed my first feature-length film. I’m quite at ease when it comes to creating images, and I’m also very at ease when it comes to positioning the camera. I am aware of the correct lens that I should use. If I want to get close to the characters, if I want to blend other compositions, I can do any of those things. As a result, I was able to better prepare myself for a career in directing thanks to it. When people come to me for guidance, I almost always tell them to follow that piece of advise. I advised the filmmakers, “always keep creating photographs because that’s the way you’re going to understand how you’re going to represent the world you’re developing in your story,” and they did as they were told. Working with Barbara Alvarez was an incredible blessing for me. She is one of the best cinematographers in the world, and her presence offered me all the experiences that I didn’t have. She provided me with a great deal of solace. Because she is so skilled at framing, I had no doubt that every frame would turn out gorgeous. Additionally, the fact that we had similar aesthetic tastes was a wonderful thing. We spent a lot of time getting the movie ready, and we went through each and every shot that we planned to take. We were all thinking about the same movie, which is really crucial because you need to be thinking about the same movie as your cinematographer, art director, and editor. Therefore, working with her was a significant source of relief. In the future, I really hope that we will be able to collaborate again.
“Utama” is one of the year’s biggest hits. What do you think made your film so successful?
Well, this is really hard. It’s really hard to talk about yourself, and your own work. I think I’m happy with the movie we’ve made. I have had the best team I could have asked for, and I think a lot of things in “Utama” work well. I guess the images are very well put together, the characters are strong, and the story seems simple, but it has a lot of depth. I also think it’s a powerful story that’s told well. I believe that the ability to convey stories in an engaging manner is the single most essential aspect of filmmaking. I honestly don’t know, but I assume when you’re working on a movie, you’re thinking about how to make it the greatest movie you possibly can and how to communicate the story that’s been on your mind in the most effective manner you know how. However, you are not considering whether components to include or exclude in order to ensure that it would be favorably accepted. Because going in that route can only lead to misfortune and disappointment. So, yeah. I enjoyed telling the story, and I enjoyed using all the tools that Cinema gives us.
“Utama” is Bolivia’s entry for consideration at the 95th Academy Awards. Do you believe that it will be considered for an Oscar nomination?
We are very proud to represent Bolivia at the Oscars, but I think it’s best not to think about that too much. We think that we’ve worked hard to make a beautiful, strong film, and whatever happens next is not up to us. So, the only thing that really depends on us is that we keep working, keep dreaming, and keep making great movies. So, that is our goal: to make more great films.
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