In director Evan Loenberg’s second feature, “I Dust Want to Be Dust” (“No Quiero Ser Polvo”), a middle-aged woman with an indifferent husband, a son’s slab and, well, life, in general.
He is sharp enough to see through the false mysticism of the new age-ish gurus and the aerial concerns of his yoga instructors, but he takes refuge in a culture that is mostly interested in selling from gift shops and predicting doomsday which is bego. Embrace with interest and almost joy.
Growing up in a bizarre New Age-ish family that saw lightning in a thunderstorm, Lewinberg said, “I began to ask myself: what could be behind a person whose main motivation for survival is a large-scale catastrophe?”
It is a social phenomenon that has also had an impact on politics in recent years.
But as Lovenberg explained Diversity When he took the time to answer some questions at the Guadalajara Film Festival, it was also a personal story. Even Mao has acted in it.
This seems like a good time to make a film about those who fall victim to their expected savior in turmoil. This now seems to be a global phenomenon. What motivated you to explore it?
The story is inspired by a true story that happened to my family in the 90’s. I grew up in a very new age environment, and at one point, this three-day dark theory began to become very popular among my parents ’friends and we bought it entirely; Suddenly everything around us seemed to be part of the transformation into a new dimension, even the electric storm became a “suspicious unusual electrical storm”; We have adjusted our vision to align with our beliefs. Around 2010, I heard three days of darkness approaching with this strange catastrophic excitement, and when I began to ask myself more consciously: What could be behind a person whose main motivation for survival is a massive catastrophe? Why do people like to believe in one thing and try so hard to make people believe in it? Many of the triggers that affected my family nucleus at the time are still in force, and perhaps in a more marked and broader way: the excitement of an extraordinary nature, the difficulty to distinguish between reality and scene, the economic and environmental crisis of loneliness, the lonely connected world, so open and So consumerist … it’s easy to feel small and inconsistent.
Did the visualization of your narrative start from a social point of view and then the main character appeared there? Or was your hero Bego based on a real person?
When I started writing the script, it started from a character perspective. The main actress is actually my mother playing a fictional form of herself in real life; In our time and context I have adapted to the experience we have given a woman through the potential conflict of her age. This is her debut as an actress, and I am very proud of her performance. We showed the film to a few members of the industry, and they were surprised to see that it was her debut, they thought she was a veteran actress they didn’t know.
This is your second feature as a director. How was the experience?
I don’t know how to describe the experience because it took us about ten years to film, so we went through a lot of ups and downs. But if I limited it to the shooting experience, it turned out to be awesome, I was surrounded by a small and very talented crew and cast that helped me complete the shooting in two and a half weeks with limited resources. The epidemic. We had no margin of error and it could have been a perfect situation for fights and excitement, but really, the crew thought it was a great ride, it all flowed very smoothly and I just thank them.
Do you think there is an international audience for this photo?
Although the story focuses on this particular group and theory, I think that finding a truth is a very human task that can be justified by our sense of purpose or ownership. Feeling important to someone is a beautiful feeling, and the certainty of the future is even better, and we can do very unreasonable and even fascinating things to get it for a moment. I think people around the world can relate to it.