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00:00It is such a pleasure to be here. And we're joined by three Mexican filmmakers that are native to Mexico City. So please join me in welcoming our filmmakers Michelle Franco Alonzo Ruiz Palacios Rodrigo race Michelle Franco is a native filmmaker who is well-known for his film after the Shia which won the prize in Certain Regard at the 2012 Cannes Film Festival. His most recent film chronic also premiered at the 2015 Cannes Film Festival where it won the award for best screenplay. Alonzo is a native filmmaker and narrative filmmaker who is well-known for his most recent film Guido's which won five Ariel awards including one for best director. He is currently in development on his next project Museo which is a recipient of a 2015 CFI Bloomberg fellowship . Rodrigo is a documentary filmmaker well-known for his 2014 film purgatory show which takes a provocative cinematic look at the Mexico USA border. He's currently in production on Sanson and me a coming of age story of two Mexican immigrants which is a recipient of the 2014 Tribeca Film Institute voices Documentary Award. So gentlemen thank you for joining us tonight. Thank you. I'd also like to acknowledge we have a few special guests here tonight. We have Hugo Hugo via Smyth I hope I'm pronouncing it correctly. Today is the very first day he is the new film commissioner of Mexico City. So we want to welcome Hugo and wish him well. I also want to acknowledge Leyla Mendez who was a previous film commissioner of Mexico City and we had the great privilege at Bloomberg associates to work with Leyla and her team. And so we welcome you here tonight as well. So 2014 was a record year for filmmaking in Mexico. In fact there were something like 130 Mexican films produced which is astonishing. What do you think is defining this exciting time in Mexican media and entertainment. Michelle let's start with you. Well I would say that the fact that there is a huge diversity that what he does has nothing to do with what I do . And that's great. It's a very different type of filmmaking . And they're both really appreciate it bro. So as you just mentioned there's a lot of you know a high number of production but when you say diversity or different types of films different stories or different types of straw everything my life for going to culture is coming to Mexico to make stops but nothing much culturally I mean his films are very much about Mexican you know Mexican bunch of guys were having fun in the city or some kind of an experience. Sorry if I just you know I'm a huge fan of his films. OK. And then I get my. For example after luthier which I shot in Mexico City about it was mainly labeled but like a film about bullying. So it's you know about how violence is lived on a daily basis whatever that means. But everything you're saying is right. Other than the fact that the films get little attention. I was lucky because after Lucy had sold a million admissions in Mexico. But it's a real exception. Yes. It hasn't happened with my previous films and it didn't happen with this film which really deserved it. So when you go to you know to watch a movie in Mexico you pretty much can watch the Avengers 10 times and then three more films from somewhere else and maybe one Mexican film. So that's the problem. Alonso how is the Mexican film industry evolved in the last 10 years . Well I think as you say just the sheer number of productions that I mean I think that implies a great number of voices being heard and you know different stories and different genres being being explored. I don't know if there's such a thing as an industry. I mean there's production but the circle isn't complete as mentioned. It's hard to live out of it. So it's is it an industry. People are actually living out of it. Yeah it's it's definite enough . Rodrigo what is what do you think are the greatest strengths of the Mexican film industry today. Great is the greatest strengths are the directors the directors have vision they have passion they have something to say. The circle is not finished because the audience is is belong somewhere else but we can reconquer our audience. I mean Mexico has one of the largest populations of film going publics in the world. So you know we're doing what we can to try to get them back. The Mexican people love movies. We just have to start getting their attention and start getting a bit of of of what I think the industry already deserves. Just by the merit of its own art. I just got back from Korea. I was there two weeks ago 80 percent of the box office. That that that's made in Koreans Korean films. People go and watch their own films. In France it's not 80 percent but I think it's 40 or 50 you know they go watch your films in Mexico is not regulated. So exhibitors just you know have to show you know action movies. So what do you think we need to do to better promote Mexican law talent abroad. Not know the talent abroad is. I mean everywhere I go I guess it's a same with you guys. People are telling us that Mexico is one of the most exciting places regarding filmmaking. Yeah well I can give you one example of what we can do. My my producers here and we made a film called Maria Tadeo and we asked for money from the government and instead of putting the film in theaters in a cineplex we went to alternative movie circuits and you know the value of that. It's not money. It's that you're building an audience and people are learning to watch different films. But now come on we want some money and we want. Yes . But it's the first step. It's it's one step. There's many other steps that we could go to every 70 years old. By the time the circles you know it's a good idea. It needs to change fast . Well you know over the last few years there've been some really big bold faced names coming out of Mexico that have stolen the hearts of moviegoers around the world from Kahn to the iMac Academy Awards. You know Cuarón in Iraq to just to name I mean they're household names now. What do you think this attention does for the next generation of Mexican filmmakers . Very inspirational. Well again we're getting prizes everywhere you know. He won best four feet first Best First Feature in Berlin and I produced a film that got the same prize this year . He got it last year. And to that writers in a row got in cut the best director on why that matters come into government I gather. Then I got the one for best screenplay. You know we're getting prizes all the time everywhere but the laws in Mexico gonna help our movies to this screen care. And as a consequence of that we don't get screens abroad. I think that's a problem . Yeah. I mean I'm I'm I'm I vote. I've been asked that question many times about what do you think the names of were on and in reality to the total are doing for Mexican cinema. I mean I just I think it's only that they're Mexican sounding names but they're not making films here. I mean they make great films but they're not they're not involved and they're not making winning at the back to back in the recognition. People say something special is happening here. You know is there's something unique about the storytelling or the approach where you know is there something you know is there is something in the water. Well there's a great historical example of that when you know Weimer Germany failed and directors like Fritz Lang and start Sternberg came to the U.S. They had a pressure to create. And that's kind of where were that generation coming from. But people like us who are trying to make films in this country we have a different challenge because we are able to make films that we're just not finishing the circle yet right. We're not finishing the circle . We're not we're not being able to live off of our films plus that circle can be a huge one because it is that of us. What's the name in English Instructions Not Included. It turned into a huge business. Also in the States which is interesting you know we're not against commercial films we're not you know we're not making a division with between the. The good films and the commercial films. We want our films to be commercial. I mean his film is really fun to watch. You want people to see it . But that's his film it's so easy to watch. It should have been a blockbuster so alone. So you recently run five aerial awards again that's Mexico's equivalent to the Academy Awards for your film flare ups. So what was that experience like and you're saying that winning the awards getting the attention certainly helps but is that impacted your career within Mexico as well as internationally. Well I mean I guess there is one thing that we have we do have to say about about film making in Mexico is that in a way we are very lucky. I mean when I screened my film in L.A. we screened this really cool movie house called senior family. You know it's a really funky place and you know film others go there. And there was these lots of film American film students that up came to me and they said we could never make a film like yours here in the States because your film is in between. Like are indie films we could get much less money for you know like maybe 10 20 or five thousand dollars or whatever. Fifty thousand dollars. But if you if you're talking at the film the budget of my film which is a million dollars see then you already have. That means it's a studio film and that means you don't have final cut and it means it comes with you know a series of things so in a way we are lucky to to to be able to make the films that we're making and I've often been asked like do you want to come to L.A. and make films here and in a way. I mean I think I am making this we're doing this new film with my album sale and it's I can I have final cut on that film and we're gonna be able to do whatever we want. So in a way. Yeah. Maybe the aerials do help you to to to establish a policy a sort of more comfortable place from where you can film in your own country. It doesn't help to sell the film. That's I mean that's. But then again in the theater you have Alexander Payne and Antonio comes you have guys making real films like the Coen brothers have been doing. Yeah but there were over 20 million dollar films. You know that's amazing that they've been able to even get to that point to make Inside Llewyn Davis. Yeah. Now I mean Mexico has always been at the forefront of artistic expression and the talent emerging from this country has been so impressive particularly in the last couple of years but off stories that we're seeing on the screen are helping to dispel some of the nets and stereotypes about Mexico. So what point of view are you trying to share in your work . I disagree with what you just said. A lot of the films are about violence or not. And you know and the you know drugs because Mexico is a very chaotic place. So what's great about this film is I was just telling him that it's not about that so he should answer that question. My films are very intimate intimate films or about violence. My last film I shot in L.A. in a way but it's you know you should have well off well most films are violent. Yeah it's true. I mean I guess there is a certain smoke maybe a small number of directors who are looking to you know see other things. I was definitely interested in you know seeing the great things that I love about my city and seeing Mexico in a different light. And that was one of the things that we were after and I think it's important for that to you know to carry on and you know there's other great films that are being made that are really small and very local and about you know just the wonderful things in this country as well . Let's talk a little bit about the business of film making film festivals you know no denying the important role that festivals play in the industry today especially when it comes to reaching new audiences and sharing your work. Dax DFA took place in May here in Mexico City this week. You attended Murali a film festival starts this week. Is is this weekend. I think there's something like 100 festivals in Mexico and probably three times that in New York. So we're very familiar with it. Each of you would have had has had films at festivals. Can you speak about what that did for your projects. So you know and from my point of view it's it's part of where Alonso was talking about closing the circle this. You re conquering your audience at a festival . That's the first battle you know when you go out and you show your film at a festival whether it stops there and you're showing your film in an outdoor space for free or you're going to a place like elephant fest toward Tribeca and you garnering this procedure since the beginning of the battle to try to create a life for your phone. So it's it's crucial but it's only it's only the first battle and that process. Now Michel is the experience of being at a festival different when you're a first time filmmaker versus so returning. Well I've been lucky enough. You mean in Matt Miller just festivals overall. Mike my first films printed Cannes had the fourth night which was a dream come true and it was red. But you know you get a limited amount of attention. Then my second film after to see I got to the official selection at the side bar which is sort of that black out. And I was lucky to get the price the top prize. Tim Rob said that he was the head of the jury and he said let's make a film together. So the press will actually work for that . We've made a film together then three years later we were back there at the main competition and the Coen brothers and your mother and daughter. I wired me with a best screenplay. So yeah. I can only say great things about Cannes. And last weekend in Milan it was screening for films that I produced because I also produced salsa when I am not director. So I produced the film that just got the Golden Lion in Venice and it was in Morena. So yeah I mean festival for the best way to start existing. But is it different when a first timer versus returning. Yeah yeah I mean you start you know at the beginning . Journalists don't know you. So you know they might be interested shocked and then again some you know with his first film he got a lot more attention than I did with my first film . Maybe it goes CAC did a better first film but his films are amazing. Yeah but Alonzo are your goals as a filmmaker at a festival different as you get further along in your career and my goals different as you as you mature it. Do you want my film . My you know the next film that we make to be good and then to be seen and we'll be it'll find a place in that that's not up to me you know whatever happens with it. But did the exposure at a film festival helps with funding and support for future projects . That's one of the reasons you never know you get in a plane you go to a film festival and you pray that it will work. Some films get trashed and you wish you wouldn't have been at the festival and then you've got to be lucky to get into the festival. You've got to be really lucky to get out of there . No no no. It's also a humbling experience to be in a festival right. It's humbling because then you realize what if only five people show up on your screen or 10 people or you know you have to learn to value film from all these different points of view . You know because festival sometimes has this very capitalistic mentality. You also have to appreciate those moments that you have to connect with your. Whatever you know because there's also a lot of pressure for success and for for directors like thing. And also sorry but you cannot. But what is it like when you're here home in Mexico you've got morale yeah. Guadalajara Dax DFA what's the role of the festivals in terms of supporting the local industry and how that supports the economies here that everybody's looking at me. For me I always try to remind myself that having an opportunity to speak a lot of scripts. He has the best festival in Mexico and he's now distributing actually good films with a risk. Now that's interesting. Not now we're talking about you know and there take the best of morality. And they do a separate film festival in Mexico City as well. But again that's Yeah. That's my that's exactly what it is. Well yes the theaters and so he has that same attitude because he actually cares for cinema. Let's talk a little bit more about distribution. Can you talk about your experiences of international distribution and what that means for your films. Michel you before you premiered chronic at the Cannes Film Festival this year you had your first feature Daniel and Anna distributed internationally. So suddenly it was reaching people in Spain and France and the U.S.. Did you know it would resonate with a global audience and every one of my films have been sold in more than 20 countries. And I have never seen a penny out of them . So there you go home and you end up getting better out of it . Now I asked for a bigger better bigger M.G. which means minimum guarantee so you get money upfront and then you don't carry the film makes money or not. And you travel. I was just in Korea so I said I've been traveling for four months promoting the work but we've got to make a living. But how is it then for you to experience it to see audiences around the world response periods and the feedback that you've gotten from different markets influenced your approach at all . I don't know what do you think for why you're trying to do it . I guess now the rise of digital distribution and streaming platforms is you know it's a global trend. Are you still finding that Mexican audiences are still eager to go to see films in theaters. Or is the preference of the trends changing here as well and people are wanting to watch films online. Yeah that's fantastic. Yeah yeah. So people discover and then they'll search more for your work. Is this what you're finding . Probably you're hoping. Well we want to entertain people . Yeah. Well I mean I've looked for him and I'm very grateful for that because I've been to a lot of people can watch it for an affordable price. It's called Fill me in. I think so so you know I mean it's growing but the challenge is still for directors. Our challenge is making good films. That's our challenge. It's you know the distribution all that stuff that's a whole nother hack. That's a whole nother life that we have to live. But but the first challenge is still the quality of your work right. I mean in the Valley Film Festival with one of the Korean film ministers and he was I think they turned it around in 10 years and it was because 35 short films produced in Mexico last year. Why do you think short formats are where to begin shooting. I mean I don't know if I agree. I just made a short film like you know after my film I will people watch it. I don't know. I think festivals are creating category major water arguing in terms of what the philosophical should shoulder whether there should exist other good or not. The films would argue that Millennials want to know less is more. You know they don't want to sit that. There isn't a market though for short films that's for sure. I mean they're not all short films are you discerning. I learned to make films for making sure I didn't go to film school so I just said so what. What about document annual percentage to date in Mexican history. So rodrigo you're a documentary filmmaker. What drew you to this tree mindset. You're such a rebel when you're trying to make a documentary you're going to make it by hook or by crook with money or no money that it really creates a wonderful creative process for filmmakers. You know I just had a documentary that turned into a fiction and I'm trying to finish it now and I don't see a huge difference between what the difference is the attitude you fall in love with something in reality and then you make the film of course like Michelle was saying you know 10 years go by and you're still making films like that you know your kids are not going to be able to live off of that. But it's you have to you know we're here because we're talking about a voice right. The directors voice the directorial voice and that's how you know you build it and one way to do that is documentary love about their ise is important to mention quickly . Brad Stone talking about it. It's a documentary that made how many and how much and rather millions and millions. Yeah like you know like a blockbuster but it's a documentary about an unjust legal process. You know pretty much pointing out that the felonies murders rapes and all this other stuff. And eventually I did my very first murder trial the very first one . It lasted three weeks. And by the end of that trial was totally connected to this guy. He was convicted and sent away to serve a life sentence without parole. So it's like the worst sentence you can get in California. And I started writing to him and from this writing comes this film I've looked for his family I'm now the only person who visits and there's always interest . What does that mean and what do you look for when you're shooting on location and the importance of this city. You as a filmmaker for everyone who hasn't seen his film I'll just in a road movie in Mexico City and treating it as a country and in a way it could be a country you know it has like one corner is very very different from the next. I just think it's such a fertile place. Do you have any idea if they have this military big budget Hollywood blockbuster training you know so that so they are really super professional and super sharp and they're open minded. So we need. So we need the tax credits we need the training programs and we need for all of you to continue to be creative and dazzle the world helped to raise you know the interest in making films in Mexico City. Yeah. When we went into films earlier that's Alonzo's new film. What can you tell us about that project. Well it's a project that Manuel over there has been working on for many years and then by and another year went by and then five years go by and then suddenly grandpa shows up. So I made a film about that guy. What would it be like if grandpa didn't come back. So I'm working on finishing that now. Well we look forward to these projects. Gentlemen we want to thank you for sharing your thoughts and your passion with us here tonight. We really appreciate you coming out and everyone we want you to enjoy the rest of the evening. There's more wine and food and live jazz and we want to encourage you to visit the first floor of the museum. I want to thank our partners at Tribeca for all of their efforts and the entire team at tribe and for their future projects. Thank you. Thank you so much .

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The Future of Mexican Filmmaking

Bloomberg/Tribeca Film Institute held a Business of Entertainment panel discussion in Mexico City at the Museo Interactivo de Economia on Wednesday, Oct. 28. Three award-winning Mexican filmmakers, Michel Franco, Rodrigo Reyes and Alonso Ruizpalacios, discussed industry trends and the future of Mexican filmmaking with Bloomberg Associates' Katherine Oliver. (Source: Bloomberg)