With only four features under his belt, Ciro Guerra has already established himself as one of Colombia’s most important filmmakers and earned the country’s first-ever Oscar nod for 2015’s “Embrace …
about how his experience of working with indigenous populations on previous films helped him on “Waiting for Barbarians,” adapting someone else’s writing, and his recent go at TV with the Netflix series “Green Frontier.”
From the beginning, from the moment I read the story, I felt it was deeply connected to the themes that I’ve worked with in previous films. The production model was completely new to me, being my first time working in English with an international team, but all the things that motivate me in a story were there. I felt a strong connection between Coetzee’s novel and my work.
You’re work frequently focuses on cultural clashes, but this time the cultures are invented. How did you approach creating the “barbarians”? As you pointed out, this is an Italian production, and the first non-Colombian production for you. What was that experience like for you?
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