Feral is showing as part of the Hola Mexico Film Festival at Montalbán Theatre, Regal Cinemas LA Live and LA Plaza De Cultura Y Artes. in Los Angeles on 01 June 2019, and we are honoured to bring you an interview with the director of the film Andrés Kaiser. A member of Vicente Leñero’s writing workshop since 2009, Andrés studied screenwriting and film editing in Madrid. As an editor, he worked in HBO's Capadocia and Lourdes Grobet's Bering: Balance and Resistance. Feral is his debut as a director.
If you are in LA this weekend and would like to watch Feral you can purchase tickets by clicking here I want to start by saying I thought the film was fantastic on so many levels. As a Mexican American woman, I am desperate to see more diverse narratives in horror. It was a pleasure to view this film. Thank you! Thank you so much for this. It really means a lot to me! What sparked the initial idea for this film, and how long did it take you to write? Was it a slow burn or something you envisioned immediately? The film took 7 years to see the light. A lot of that time was due to writing the script, which was a major challenge. I think the core of the idea came to me as a kid when I read William Goldwing’s The Lord of the Flies. The story seemed to be very dark and really scary. I think the fact that as a reader, you always know that the real horror is coming from the kids and it has nothing to do with ghosts or paranormal activities is the scariest notion of all. As the character of Piggy well says: “I know there isn’t no beast —not with claws and all that, I mean— but I know there isn’t no fear, either... Unless we get frightened of people.” I absolutely loved that you included an indigenous woman speaking her own language. What was the significance of this? Did you encounter any issues when deciding to include this character? I ask this question because of the backlash Yalitza Aparicio faced after Roma. For the documentary wrap it was important to always remain attached to the likelihood. It is strange to see a film where a German speaks in English with another German. The diversity of languages is a human reality, and that is how it should be treated in the cinema. In Feral's case, listening to a character speak Mixe, his own language, was vital. You showcase a lot of beautiful landscape from the mountains to the forest. Does Oaxaca hold a significance for you? The forest has always seemed to me a sinister and beautiful place alike. It is home to multiple legends and myths that nourish an important part of western civilization, such as the myth of the savage. In the case of Oaxaca, it is a state with enormous diversity - natural and human - that contains a unique energy in the world. The mysticism that historically surrounds Oaxaca was an element that helped to add a layer of atmosphere to the film and its drama. Whenever the church is shown, I had this deep feeling of domination and almost coldness, it dwarfs everything in its presence, especially when it is contrasted with the natural landscape. The mountains are massive, yet they are inviting. Am I projecting my own emotions or was this deliberate? It was very important to be able to construct the image of the church as an impenetrable fortress - both physically and mystically - that even if it was full of the faithful, it was alien to the needs of the community. A church that pursues its own interests and labels as strange or dangerous that which it does not know. During the shooting, we always took much care on how we portray the church and the people who rotate its gears. I love that the screen was able to project some of these ideas. Does the cast consist of professional actors only? It felt very authentic: the acting was subtle, yet the emotion seemed very real. I believe that one of the great mystical elements in cinema lies precisely in the direction of actors; It is a very deep process that can make the difference between a good and a bad movie. In Feral, the choice of actors was based on the emotion that each character should convey. The cast is a mix of natural actors, professional actors, and debuting actors. In the end, it was a very powerful ensemble that brought the best of all the worlds. However, I had to work differently with each actor, that is, exercising a different direction technique, each one according to the origin of the actor in front of the camera. In the end, there were great surprises: children are spectacular, like Hector, who was somehow his guide and mentor with his discipline and talent. On the documentary side, "El Máquinas" and José Ángel García make the film "credible". It was a difficult process but of which I learned a lot and I am very grateful. This film relies a lot on found footage. Do you have any favorite found footage films? Yes. 1. Cannibal Holocaust 2. The Blair Witch Project 3. The Sacrament What is the scariest film you have ever watched, and why? The Innocents by Jack Clayton. I've only watched it once and I think it was enough. It is a ghost story brutally narrated. I have an equivalent proportion of desire and fear of watching it again. I am desperate for more Latinx writers to break into horror because I feel we have such a wealth of ideas and history to draw upon. Is horror a genre you want to continue creating? Yes. I want to continue exploring the horror from the human's point of view and its atrocities. I also have curiosities about drama or other types of movies, but for now, I want to continue making genre films. Do you foresee creating an English language film with Mexican themes to break into the US Market? I was disappointed with The Curse of La Llorona. Please. Say. Yes. I would love for that to happen one day. However, I know that it is difficult to become part of the American production system. Not impossible, but difficult. I would love to work in the film industry in the United States and at the same time continue to develop my concerns as an artist around issues that I think are important. What is next for you? Well, now I'm in my next horror movie. It is called Preciosísima Sangre (Precious Blood) and tells the story of a nun whom the Inquisition of death and the pact with the devil in eighteenth-century Mexico. The film explores themes such as death, isolation, fear of the unknown, religion, the role of women in Colonial México. I am very excited about this movie. It electrifies me every time I think about it. Once again, Thank you for the interview. I look forward to seeing more of your work and spreading the word about Feral. ¡Muchísimas gracias! ABOUT V. CASTRO
V.Castro is the author of Maria The Wanted and the Legacy of The Keepers - her debut vampire novel series and The Erotic Modern Life of Malinalli the Vampire- an erotic novella series. You can also find her horror film reviews on
www.scifiandscary.com. She is a Mexican American ex-pat living in the UK for the past 12 years. As a full-time mother, she dedicates her time to her family and writing. Violet can be found on Instagram, Twitter and at her website www.vvcastro.com Contact: vvcastro100@gmail.com MARIA THE WANTED AND THE LEGACY OF THE KEEPERS (THE KEEPERS SERIES BOOK 1)
Maria is a wanted woman. She's wanted by and Aztec trafficker, a cartel boss, the people she fights for, and now the Devil she can't resist.Her journey begins as a would-be immigrant turned vampire in Juarez, Mexico until the injustices of the world turn her into somehting else. She's not just out for blood, she wants answers.Maria spends twenty-two years in motel cleaning purgatory trying to keep her faith and sanity intact. When she feels all hope is lost she meets an ex-boxer that offers her a new job and teaches her to fight. During this time, she becomes an unlikely bad ass enforcer of justice for the community that has embraced her. Is she a saint or an old God from a forgotten past?
Not only does she evolve into the woman she always hoped to be, but she finds her creator – Adam- he is nothing like she imagined. He invites Maria to travel with him to England to join The Keepers, a vampire organization led by the ancient Mordecai and Dr. Elizabeth Appleton. Learning that the true vampire way isn’t destruction but the safety of humanity, Maria joins The Keepers as they uncover a plot set into motion by Lucifer himself. The Keepers must end his corruption through political manipulation or watch as the world hurtles towards self-destruction. 
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