Inequality And Contrast
I think on my family also, my grandfather and my father, they were always very political people, social conscious people, that always spoke about what they thought was unjust or unfair. And as I grew up, and now anything that seems to me that is not just, or is unfair or someone is being treated unfairly in a very dramatic way, somehow inspires me to speak about it or to do something about it, yeah, just to — I don’t know.1 I think that’s what I’m attracted to, to the — and I think in both cases, but maybe even more in Heli, my last movie, just the inequality and contrast that happens in Mexico, and in United States also, is what has inspired me, and made me want to speak about those situations. It’s not — I try not to really do it in a very — I really like ambiguity also, to not be completely in one side or the other.
And with Los Bastardos, before I was making it I had his idea, I would tell sometimes when they asked me, that I wanted to make a movie that was equally — somehow that — like Republicans or — not Republicans, but a racist person from United States would say — they would show this movie Los Bastardos, and say “Look, this is why we don’t want Mexicans in United States.” And then also I wanted to make a movie that Mexicans could say “Look, this is what happens to us when we go to United States.” Somehow, it was like that, like it wasn’t — dangerous in that way. And I tried somehow, I don’t know if I was able to achieve anything like that, but that was kind of the idea that I had when I was thinking of the movie.
And with Heli I’m not sure if that’s exactly, but I do like to be stuck in a dilemma morally, that could bother some audience members for example. I think that’s what makes these things more interesting, I guess, that makes people think a little bit, unless you just give them exactly what they already know, for example, because that would be boring for me, like giving discourse to somebody that — as we all know, that something is unfair or like that, that somebody is a victim or something like that. But if we somehow — if I look at it from a slightly distorted view of things, like the immigrants in Los Bastardos are not victims necessarily. I mean they are victims, but many people in the movie are victims. Also, the people that they hurt in the film, they’re also victims somehow. So, it’s difficult to feel pity for them necessarily. So, this ambiguity I like.2