News

Argentine Competition

3 questions for Nic Loreti

The director of Red Point talks in detail about his film, featured in the Argentine Competition.
3 questions for Nic Loreti



A few years ago you presented the short film Pinball and now you have transformed it into this feature film. What was the genesis for this world that you lay out in both works?
 
The genesis of the Pinball project was the script for the feature length film Red Point, of which Pinball is a small part, although with another ending that justifies the short film and its title. The genesis of the original script for the feature film was a challenge that I made myself: to write a movie that is as minimalist as possible but that maintains tension and humor all the time. Given the economic crisis, I wanted to write a script that was possible to film, but one that also worked: one that I could film the way I wanted to, with the shots, the setting and the cinematography I needed. I also wanted to allow myself to play, to make a playful film of my own universe, something that I had not done for many years. Almost since I made Diablo, I would say. Kryptonita has the writing of Leo Oyola and other things we co-wrote. Here the challenge was also to write it alone, although at one point it is like a cousin of Diablo and takes place in that universe.
 

You ventured into various genres throughout your filmography. Which ones do you feel most comfortable with?
 
This is the one I like the most: film noir with black comedy. It's what comes out best for me and I know it. But I'm dying to do pure terror and that's where I'm going. Making Kryptonita I felt super comfortable, and Leo's text was so solid I knew it would work.
 
 
You claimed Red Point had comic book touches, Mad Max and western moments, and Asian action movie influence. How did you manage to handle so many references and still give it your style?
 
The truth is that putting many genres in a blender to see what comes out is what I usually do. On Kryptonita there were influences from Scorsese's Bringing Out the Dead; shots in the style of Snyder, Carpenter, Daniel Espinosa, Gillo Pontecorvo ... There are frames a la Leone or Peckinpah –my heroes– but also a Mad Max look for Demian's character, a Sin City feel at the time of Castro, and a half Mission Impossible madness in the scene with Moro.