‘Cielo’ Director on His Visceral Film About a Bolivian Girl in Search of Heaven, Aided by Female Wrestlers

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How would one define “heaven” and how much effort would one exert to attain it? In the film “Cielo,” directed by Alberto Sciamma, who hails from Spain but based in the U.K., and shot in Bolivia, the eight-year-old protagonist Santa is prepared to go to great lengths following her ingestion of a vibrant yellow fish, leading us to ponder the lengths one might take in pursuit of such a concept.

Apart from hauling a cart from her home in the barren Bolivian Altiplano across expansive desert terrains on a big truck, she encounters various individuals such as a priest, policemen, and an indigenous female wrestling group. What propels her is her strong affection for her mother, her determination to rescue them both from an abusive father, and her unwavering faith.

I recently attended the world premiere of an extraordinary film titled (movie name) that starred some promising new talent like Fernanda Gutiérrez Aranda, Fernando Arze Echalar, Sasha Salaverry, Cristian Mercado, Carla Arana, Juan Carlos Aduviri, and Luis Bredow. This captivating cinematic experience unfolded at Fantasporto in Porto, Portugal in March. The movie was showered with accolades, winning the special jury prize, audience award, and the best cinematography honor for Alex Metcalfe. As a gamer, I felt like I was immersed in an engaging narrative that kept me hooked till the very end!

Starting on June 6, the movie titled “Cielo” will make its U.K. debut at SXSW London. On June 7, there will be a second screening of the film.

The film, created in the U.K., is brought to you by Sciamma, John Dunton-Downer, Alexa Waugh, and Bettina Kadoorie under Luchadora Films, with additional production assistance from Pucara Films of Bolivia. Filmseekers has taken on the role of the sales agent for this movie.

Prior to the London showings, Sciamma (from “I Love My Mum”) discussed with The Hollywood Reporter his inspiration behind his contemporary fairy tale, collaborating with his captivating young actor, the indigenous female wrestlers known as “cholitas,” who have garnered fame in Bolivia, and his future plans.

The filmmaker explains, “The movie begins with two pictures. A striking mental picture of a small child consuming a fish was constantly present in my mind, and I didn’t delve into why it captivated me. Later, there was another image of a young girl pushing a cart through an unfamiliar terrain. As I sketched and pondered these images, I never imagined they would evolve into a screenplay.

In a past Berlin Film Festival, at the European Film Market, he encountered his friend Dunton-Downer and his wife from Bolivia who resided in Berlin. They suggested an untouched, enchanting setting for a film, mentioning Bolivia. As they flipped through their family photo album, showing him stunning images of Bolivia, Sciamma was captivated by the landscapes. This encounter sparked his creativity and he penned the first draft for the movie within a short span of time.

The film delved into several spiritual and religious motifs, incorporating symbols like fish and heaven. Director Sciamma, who was born in a religiously-inclined country (Spain), shares, “I may not be religious personally, but I’ve always been captivated by the intricate imagery of religious figures such as Jesus on the cross. My fascination extends to the abstract notion of faith, as it’s something that cannot be clearly defined or explained. I believe we all harbor fundamental questions about existence and the universe, regardless of how much science or documentaries we consume. These enigmatic questions are what drive human religions.

The film isn’t labeled religious by its writer and director; instead, they describe it as exploring themes such as love, family, our constant yearning for redemption, and the universal desire for a better life or place. In essence, it’s about the human inclination to seek something better, like believing that the grass is always greener somewhere else.

In crafting her narrative, Sciamma adhered to a single guideline: endeavor to evoke emotions in the audience instead of providing intellectual analysis, and maintain an underlying theme of love even amidst harsh events. Yet, she desired the story to retain its softness and sensitivity at its heart.

The psychedelic sensation experienced while watching the movie is achieved by the director’s intention of offering viewers an immersive, experiential viewing experience. “It’s a combination of things – the visuals, the colors, the music, and sound,” Sciamma notes. “All these elements are carefully crafted to transport you, ideally, on an exciting, enigmatic journey, captivating you and guiding you to explore unknown territories. Movies that I particularly admire are those that take place in areas I wasn’t aware of before.

During the Porto film festival, the director found himself astonished by the final cut of his movie upon viewing it. He remarked, “As the credits rolled, I couldn’t help but smile and think, ‘What is this? What on earth happened here?'” He explained that while writing and filming, they were constantly brainstorming and figuring out how everything would come together. However, he never critically analyzed the movie until later when he realized, “I need to understand this creation better.” He hopes it serves as a source of amusement, akin to jumping into a pool, but then the water transforms into an ocean, and the ocean becomes a river – constantly evolving and unpredictable. In essence, he says, “It’s intended to take you out of your comfort zone and transport you to new places.

Sciamma considers herself fortunate to have discovered Gutiérrez Aranda as a promising young actress. She was just seven when they had their initial Zoom call with her and her mother, and she had no professional acting experience beyond school plays. “As I spoke with her,” Sciamma recalled, “I immediately sensed this girl’s exceptional intelligence. Later, I found out that she was actually two or three years ahead in school, and she had already read all the Harry Potter books. So, we gave her a chance, and our trust in her was well-placed.

According to Sciamma, her advice was straightforward: “Be authentic, steer clear of affectations,” and don’t pretend to be someone else. She was remarkably easy to work with, as she didn’t act, according to him when speaking with THR. “She genuinely felt everything. The tears, laughter, and all other emotions you see are real. She wasn’t pretending. I recall some particularly emotional and nerve-wracking scenes and moments were difficult for her, and I suggested we could alter the scene or approach it differently. However, the only thing I had to do with her was to set the tone – whether it was serious or humorous.

Despite sudden alterations, the novice effortlessly adapted; for instance, I modified the dialogue for a single scene just twenty minutes prior to filming, yet she swiftly memorized the revised lines.

He expresses optimism about Gutiérrez Aranda’s future. He states, “I would be thrilled to collaborate with her once more, as she is already an exceptional performer and has the potential for even greater success.” He shares this during his conversation with THR, emphasizing that she is incredibly gifted.

Working with the female wrestlers who portrayed themselves proved to be a delightful experience, according to Sciamma. “They had no acting background, yet they were so lively,” she explains. “Just trying to join their bus would trigger an outburst of laughter, music, and jokes. They were simply a joy to be around.

For Salaverry, portraying wrestler The Reina in the film, the director modified the character from its initial script version to one more aligned with her true-life character. As he explains to THR, “In the original script, she was more boisterous. Sasha is more delicate.” So, rather than resisting this, he decided to go along with it. Consequently, he changed the tone of the role.

Sciamma found filming in Bolivia to be such a captivating experience that he’d gladly return. He says, “Out of all the filming locations I’ve been to, Bolivia is the only one I would definitely revisit. They might lack advanced technology, prop houses, and the like, but they make up for it with their creativity. Their limitations actually fuel their creativity.” Sciamma continues, “Bolivia is amazing. It has La Paz, deserts, mountains, and jungles. It’s an incredibly diverse place filled with incredibly talented people.

Sciamma is considering going back to the universe of the film “Cielo“. He shared with THR, “I’m essentially working on a sequel. I’ve always felt that the movie couldn’t end there, and so I’m writing a follow-up to the film which begins in the jungle, a location we only explored briefly in some scenes.

As a game enthusiast, I can relate to this situation. My upcoming sequel will have to take a backseat for now, as my immediate priority is the festival circuit. Here’s how I, the filmmaker, put it: “I lock myself away from the world, just me and my laptop, pouring my creativity into the script.

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2025-05-30 11:25