A native of Puno, Peru, director Henry Vallejo chose his home city as the backdrop for his film Manco Cápac, in English titled Powerful Chief. The film's title refers to Manco Cápac, founder of the Inca empire - a reference which is likely lost to many unaware of the historical significance in the region - and which alludes to the main protagonist's intrinsic wisdom and perseverance.
Filmed in Spanish and Quechua, Manco Cápac tells the story of Elisbán, a naive and optimistic young indigenous man played by Jesús Luque Colque, who migrates from the countryside to the city of Puno, where a friend promised him work. But when he arrives in the city, with just one sol in his pocket, that friend has left town without leaving a trace. The main protagonist finds himself in a big city, alone, homeless, penniless, constantly rejected when applying for jobs and looked down upon by people who ignore his plight with fierce indifference.
Chosen to represent Peru in the Oscar international feature film category, Manco Cápac didn't make the shortlist. But that doesn't discourage Vallejo, who recently signed a distribution deal that will place his film on a yet-to-be-announced U.S. streaming service in 2022. He shares why people should watch the movie.
The movie has very little dialogue, but speaks volumes. What were you trying to convey and what did you want the audience to feel when they saw it?
We wanted to tell a little about the current social and economic situation in Puno and that of Peru - how we think and the way we treat each other. We wanted to show the reality of indifference and estrangement between our compatriots and we wanted to make a small tribute to the Incas. For years, we had been researching to make a period movie about the Incas, but determined it would be too expensive. That's how we ended up producing Manco Capac. This story takes place in 2017 and without forcing things, we insert the Incas into our history.
What is the message that you are trying to send about how people act and react to others in need?
First, how a person can be a stranger in his own country. He comes from the countryside and Puno, which is a city with about 150 thousand residents, is hostile to him. When you think about it, if you arrive in any city without money, it can be a hostile experience. I tackled several questions in this movie. For example, is it alright to help people or have we taught ourselves not to help people? Why do we run away or fear when someone is in trouble? Why do we look at the clothes a person is wearing? Why are we so superficial that we look at people's ragged clothes and prefer to step aside and ignore them? This story, as in real life, explores these issues. We are indifferent because perhaps we have educated ourselves to be that way.
What is the significance of the festivities featured in the film? We wanted to insert the character into the festivities that take place in February in honor of the Virgin of Candelaria, which wasn't easy. We had to film them over the course of three different years. Every year, people pay homage to the Virgin. In this Candelaria festival in Puno, people are very focused on drinking alcohol, dancing, having fun and they don't want to be bothered with anything that interferes with their celebrations. They don't mean to do harm, but they do a lot of damage because they are focused on their superfluous lives, while Elisban struggles to survive. The point is that sometimes, we do not take the time to think about how our actions can hurt others.
We wanted to contrast the festivities to Elisban's loneliness. There are days when he is surrounded by thousands of people, but nobody is his friend, nobody helps him and he needs help.
Why did it take you 11 years to complete the movie?
We had several setbacks. We started working on the story in 2010 and started making the film with our funds in 2013. We had shot about 10%, when the main actor won a scholarship to study medicine and quit. We had to start over. It took us another three years to find another actor to replace him. On a positive note, during that time, we were able to improve the story and get funds from the Ministry of Culture to finish our project.
How satisfied were you with your choice of Jesus Luque Colque for the main role?
Jesus had never taken acting classes. We had to do a workshop of almost six months to train him and other actors. It was after more than two months that we were convinced that he could be the protagonist. Aat the end of the acting workshop, we told him he landed the role. Jesus is incredibly talented.
Was this a family project?
Yes. I have been working with my brothers since my very first short films. They do the photography, sound and the editing. We have coalesced little by little. Sometimes we argue, but we make up five minutes later and keep working. Our differences are of ideas and opinions, not on a personal level. So everything flows because we have a shared vision. They are also the ones that keep me in check. Sometimes they are the ones that keep me from making a fool of myself.
Your film represented Peru for an Oscar. What would a nomination have meant for you?
It was a surprise and an honor that our film was chosen to represent Peru. All accolades are welcome. But we never thought of making the film with festivals or awards in mind.
We only strive for a job well done and hope the movie will be seen. We are already quite happy to have finished it after so many challenges and years in the making. For us, the purpose of making films is to touch the human soul. At least, that's the kind of cinematographic work we want to do and aim to continue making.
