After meeting at a party, Luciana and Pedro spark up a spontaneous rendezvous when Luciana accompanies Pedro to a national forest on a work trip. Eschewing the fraudulent nature of traditional relationships, the pair explores the beauty in the nature that surrounds them as they indulge in the passions of their encounter and navigate the various meanings of commitment. [Synopsis Courtesy of Tribeca Film Festival]
What’s your film about in 140 characters or less?
Luciana (29) and Pedro (30) meet at a party, go home together, and just a few hours later find themselves on the way to Rincón de la Vieja Volcano National Park, where they spend the next few days, knowing after that they probably won’t see each other again.
Now what’s it REALLY about?
For me, it’s a little bit about a time when you feel like everyone around you has grown up and changed, and you don’t know what that’s about yet. Luciana and Pedro build their connection very much on being outsiders in that sense. They want to have a good time in the way you want to have a good time when you’re a teenager, where all that interests you is having experiences and you just jump into anything that promises to be fun, and you relate to people in a very intense way. They’re sort of hanging on to that, but are starting to feel like they get fewer and fewer chances to do that sort of thing, so when they meet they sort of release all that energy into the time they get to spend together. In a way, the film is about adults acting like kids. Not in an irresponsible way, in a good way.
Tell us briefly about yourself.
I grew up in Costa Rica mostly, but from ages ten to fourteen I lived in NYC because my mum went back to school to do her PhD there. My dad has lived in Panama since I can remember. They were hippies, hence my name, Paz, which means peace. I’ve spent about half of the last twelve years living in different countries. I have a bit of a love hate relationship with Costa Rica; I keep moving away and moving back. Lately, I don’t read as much as I’d like, but I’m a big fan of Salinger, Roberto Bolaño and Steinbeck.
Biggest challenge in completing this film?
The hardest part was finishing it. I’m very critical of my own work, so I can’t really edit my films. I had some help, but not someone I could just hand it to, and I got stuck for a few months. Then, when I was starting to work on it again, I lost someone I loved very much and didn’t pick it up again for almost three years. Writing and editing are the most difficult stages for me, and if I’m not in a good place emotionally, I just can’t do it.
What do you want the Tribeca audience to take away from your film?
“Viaje” is sweet film, it sort of carries you along gently, it’s funny sometimes too. I hope people enjoy it, that it makes them feel good.
Any films inspire you?
Yes. Some very important films for me, because of the films themselves, but also because of the time in my life when I watched them, are “Paris Texas” (Wim Wenders), “Badlands” (Terrence Malick), “Five Easy Pieces” (Bob Raffelson), “Ratcatcher” (Lynne Ramsay) and “Mulholland Drive” (David Lynch). All of Antonioni’s films, but specially “Il Grido.” More recently, “La Niña Santa” (Lucrecia Martel), “A Separation” (Asghar Farhadi) and “Boyhood” (Richard Linklater).
I’m working on a film with a friend, Gabriela Hernandez, based on a documentary she started some years ago which we now want to write as fiction. It’s about a group of Costa Rican kids who immigrated to the States pretending to be a semi-professional soccer team, lost every match miserably and then disappeared.
What cameras did you shoot on?
Two 5D mark II cameras and some old Nikon lenses.
Did you crowdfund?
If so, via what platform. If not, why?
No… I don’t really know why, I guess I’m shy like that.
Did you go to film school? If so, which one?
Indiewire invited Tribeca Film Festival directors to tell us about their films, including what inspired them, the challenges they faced and what they’re doing next. We’ll be publishing their responses leading up to the 2015 festival. For profiles go HERE.