Loreti did it again. And the result is explosive. Krytonita, based on Leonardo Oyola’s novel, is a film that combines the genre of super heroes with the cruel everyday reality of a public hospital in the province of Buenos Aires. The result is a passionate thriller, with influences from John Carpenter and the characters from the League of Justice. An intimate dramatic film, where true heroes live between the shadows and do not need super powers to save us in everyday life.
How would you define the story, leaving out the references to the original comics?
It’s mainly an ensemble piece, focused on the relationship between the characters. It has elements of the police genre, action films, with a social approach as well. Since it is a siege film, where the characters are barricaded and are not able to leave the place, the key to catch the audience is to make them identify and fall in love with them. As in The Wild Bunch, if you care for these outlaws and believe in their friendship, you will want them to survive.
Why do you think that in the Province of Buenos Aires people with super powers could be part of a band of outlaws?
The story wants to voice those people who usually don’t have a voice, to give them a leading role and show through their acts that they are loyal and have codes.
How did you work with the actors and the characters? How did you choose the actors? What were their contributions?
First thing I want to say is that they gave their most. They were a team from day one, and working with them was very easy. Though there were many previous rehearsals, they built their characters with their own style. Some of the actors had already been chosen before the shooting, like Juan Palomino, Susana Varela, Diego Capusotto and Lautaro Delgado. In their cases, those were the obvious choices. Lautaro did a lot of previous research, about Wonder Woman, and with transsexual girls as well. He also worked on his voice in rehearsals with Paula Manzone, who worked as coach, and with Karen Bennet, her artistic patroness regarding Lady Di’s character.
Pablo Rago spent an entire afternoon talking about comics and references for his character with Sebastián de Caro, and Diego Cremonesi was confined by the director to learn by heart the long and crucial dialogues of the story, which he would have to say in a single shot. Anyway, the most important thing was to make people believe that this band made up of artists from different contexts is a group of friends who spent their entire lives together. And it worked.
How did you achieve such a visual balance, where the visual effects do not get in the way of the dramatic conflicts?
We thought of our criterion in pre-production with Catalina Oliva, the art director, Mariano Benayon and Pablo Katsovitis –who designed the matte paintings-, Andres Borghi and Mariano Tozzini –visual effects- and Mariano Suárez, the cinematographer.
With them we created the aesthetics of the flashbacks, so that they had their own style, similar to a comic but without losing the local spirit. Something Lautaro Delgado defined as "Watchmen punk”.
Which character from Kryptonita you feel more identified with? Which superpowers you would like to have if you could choose them?
We feel identified with Lady Di and Nafta Súper, that’s why our relationship was so affectionate. And because we’d like to fly and we like to go dancing.