Ante Ayer aproxima la problemática guatemalteca (y Latinoamericana) del narcotráfico a través de la experimentación cinematográfica. En ella, se mezcla la estética de los spaghetti-westerns con la representación pictórica de varios de los props de la película, recordando a los inicios del cine y los experimentos de Méliès y Wiene.
Los props, y el resto de la dirección de arte de la película, fueron realizados meticulosamente por Andrea Mármol y Alberto Rodríguez Collía. Para ello, y para poder abarcar la sórdida y compleja temática de la narcoviolencia, con un distanciamiento crítico, los artistas realizaron una investigación a fondo en la Hemeroteca Nacional, la web y los narco-blogs.
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The dry landscape of El Progreso, that plays with the hills, the horse spiders, and the snakes, seems to have been punished by the Sun. It’s that same setting, in conjunction with Guatemala City’s Historical Center, that served as locations for Ojalá el Sol me esconda (Hopefully the Sun will hide me), Julio Hernandez Cordon’s fifth film, which is based in the massacre of Los Cocos and the life of
musician Warning (Hector Mazariegos).
Ante Ayer reflects upon the Guatemalan (and Latin-American) problematic of drug trafficking through experimental filmmaking. In it, there is a peculiar mix of spaghetti-western aesthetics combined with the pictorial representation of many of the film’s props, which reminds us of the early days of cinema, and the first experiments of with Méliès and Wiene on the silver screen.
The props, and the entire Art Direction for the film were meticulously created by Andrea Marmol and Alberto Rodríguez Collia. For it, and to be able to encompass the sordid and complex theme of narco-violence in a critical way, the artists realized an in depth investigation in the National Newspaper Library, as well as the World Wide Web through its major news portals and its narcoblogs.
