The journey of Moisés Sepúlveda and Pancho Hervé to Argentine territory seals a strategic alliance between JUNTOS and Jaque Content based on creative synergy, a closing ritual where sound and sensitivity bring the highly anticipated feature film to life.
After wrapping a highly demanding shoot at the end of last year, the Chilean production company JUNTOS kicked off January by diving headfirst into post-production. This time, the film crossed the Andes to settle in Córdoba, Argentina, under the wing of co-producers Jaque Content, the strategic ally tasked with orchestrating the final stage of this cinematic journey.
Director Moisés Sepúlveda and producer Pancho Hervé traveled to the Argentine studios with a mission: to sculpt the universe of sound and image, a closing ritual that marks the definitive birth of the artwork.
While Moisés remains in Córdoba working on color grading and visual effects, Pancho Hervé returned after a week absolutely dedicated to the mystique of sound. “I am a hands-on producer when it comes to design; I participate very actively in almost all of our films because it’s a craft that I love and where I have learned a lot,” he confesses.
Settled into the rooms of Studio 440, named in honor of the exact frequency of the musical note A, the Chilean crew and Argentine co-producers committed themselves to long workdays. There, alongside brothers Gastón and Emiliano Federici, a duo working with the perfect four-handed synchronicity of a single body, the quartet dedicated themselves to exploring subliminal sounds, those tiny noises and textures that spark imperceptible sensations in the viewer, managing to accentuate subtle notes of humor and even altering the calmness of scenes by removing small words from the dialogue.
The score by Paulo Gallo, an in-house composer for JUNTOS, joined this ecosystem of sensations. His most daring and complex work takes center stage here, engaging with stridency and personality over the characters’ actions. “We set out to give the music a fully leading role instead of being merely incidental. This is a complex and strident stylistic choice that is usually avoided in more conventional cinema, but here, because the film’s tone moves away from the rigid structures of pure realism, it coexists splendidly with the actions and psychology of each character,” Pancho explains.
With this trip to Córdoba, JUNTOS and Jaque Content tighten the bond between both production houses. In Pancho’s words: “Beyond the obvious economic value that the participation of our co-producers represented, what truly brings happiness to me is that a very powerful human connection was generated with Dani and Emi. It’s a beautiful complicity where we discovered that we are in love with making this project, and we understand each other so well that we spend the day laughing, which to me is the clearest sign that we share the same sensitivity.”
While Moisés Sepúlveda continues working on the visual treatment of color, the intricate visual effects by Jorge Fenoglio, and an unprecedented two-dimensional animated opening designed in Chile by Jonathan Bravo, JUNTOS embraces the maturity of a project that breaks away from the rigid structures of pure realism with a bold gamble to tell the story of this financial crime.