It's always a daunting task to be the opening night film for a festival as it usually brings out the press and pundits are looking at the film with great expectation. For Benjamin Naishtat, the pressure was higher as he inaugurated the first annual Neighboring Scenes series.

The director showed his latest film "El Movimiento," which dramatizes a crucial moment in Argentina's history characterized by political zealotry and terrorism. The film is shot in black and white and in Academy format creating an old-fashioned look.

Naishtat had a chance to speak with Latin Post about his experience of shooting a film in ten days and working with non-actors.

Latin Post: Where did the inspiration for the movie come from?

Benjamin Naishtat: I am very interested in history and in politics and I thought about looking at the time of this film, which is in the beginning of the 19th century around the year 1835, a time period that was part of the foundation of Argentina and Latin America in general. Looking at the time period is a way of thinking of the present. I think the region is living through an intense time period and I think looking back at the past we will be able to understand the present.

LP: There is a certain type of dictatorship in a way. How can this represent the present?

BN: I think it's more of anarchy and chaos than dictatorship. There is disorder and it was during a time period when this territory was still not organized into different countries. But in response to the question of dictatorships in the present, fortunately there is none of that. But we have seen these types of expressions in the region. In the 70's and 80's we saw dictatorships around the continent that were very bloody. But I think it is ingrained in our minds and history not to return to these types of governments to interrupt democracy.

LP: Why do you think it is important to express political opinions in film?

BN: Film is more than Entertainment. It could be a vehicle to investigate and to think and see the world. It is also a way to think, see history and see current issues. It's a way to show the youth something about their cultures. Film has always been a mirror like the famous Russian director, Tarkovsky, always said. He said "Film is a mirror of society." So it is so natural, especially in a region where politics is so present in everyday life and where it affects everything. It's natural to see politics go to the arts and especially film.

LP: Talking a little more about the technical aspects of the film, why did you choose black and white?

BN: It was a bit more natural to do it like this especially in the time period that the film takes place in. I wanted to use some of the original techniques that were used at the beginnings of film. So that it is why we used black and white and the 4:3 Academy format. These were the techniques that were used in silent film. We were trying to find that very primitive look and that is also seen in the editing style. We wanted to create a primitive look for a very primitive time period.

The black and white also emphasized the landscapes and they created a darker and morbid look to these beautiful landscapes.

LP: Your cast is immense. Was the whole cast made up of actors or were some non-actors?

BN: The lead roles and especially the protagonist, Pablo Cedron, a very well-known actor in Argentina, are all professional actors. The small roles and the extras are not actors. They are actually from the village we shot in. It was a very remote village in the south of Argentina. They adjusted very well and very naturally. These are small villages where tradition still exists.

LP: When you found these locations, how open were the villagers?

BN: In Argentina when there is a film in a remote area, they generally embrace you. We were well received by this village. They all collaborated and even did cookouts and parties for us. It was a great experience.

It was very interesting and at one point the reality was mixed with the fiction of the film. Some of the extras that interacted with our lead actor started thinking that he was trying to generate a politic movement in reality. It was interesting and really helped the film overall.

LP: How long did you guys film for?

BN: This film was a co-production with South Korea and was shot in 10 days. And the post production was done in a month-and-a-half. It was a very accelerated process but we had to premiere it in South Korea because they had financed it. It was a very cerebral and automatic process and really helped the film in the end.

LP: Generally when co-productions happen a lot of Latin American directors work with Europe or even the U.S. How did this co-production with South Korea happen?

BN: Making independent films in Latin American is always an adventure. In this case we wanted help from where we could get it. In this case, with my previous film, "History of Fear," I went to South Korea for a festival and created a relationship with a number of Koreans that decided to finance a new work of mine as long as I premiered it South Korea.

LP: What were the biggest challenges to making this film?

BN: I think the little time was a big challenge. However, the weather was also a huge issue because we shot in a desert in the summer and sometimes we were 16 hours in a desert where there is no shadow. So there was a lot of exhaustion. However, the disadvantages became advantages because you see that in the film and that gives it more reality.

LP: Did it already premiere in Argentina and how was it received?

BN: It was shown at the Mar del Plata Film Festival where it won the first prize. It will open in March and we hope that it will create a political debate. I think it will be very interesting.

LP: You opened the 'Neighboring Scenes' series. What was the feeling like?

BN: It's an honor because Lincoln Center is the most prestigious cultural center in the United States. I hope that we will be able to get a distributor in the U.S. to continue to show the film. We have already shown it in Los Angeles at the AFI Film Festival and that got a great response.

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