Mexico City, Apr 23 (EFE).- Under the premise that for several decades society has lived through screens, the film “The Mandela Effect” vindicates the value of technology while criticizing it through the life of its protagonist, Nico Rothko, a conflictive character in search of identity, and his environment.
“The character is a vehicle for all of us to experience what he experiences, it leads us to this questioning in the end that we all already live through the screens, and we want to put people inside that screen,” he says this Saturday in an interview with Efe the director and creator Eduardo Arroyuelo Woolrich.
The story follows the life of Nico, a young man with a family who tries to help him find his way without understanding.
While that happens, he deals with vision loss, a cell phone addiction – “the digital heroin”, seeks the non-existent bonds of an absent father and maintains a polyamorous relationship.
“(Nico) has a literal and metaphorical blindness and in the end the blindfold is removed from his eyes,” says Arroyuelo Woolrich.
But the protagonist is not the only one who faces addictions from “blindness”, his environment completes perversions and addictions that portray vices of society.
“Each character has a different addiction, the mother to alcohol, the father to heroin, the psychologist to some sexual things and Nico on the phone,” says the director.
“There is a judgment that Nico’s generation is glued to the screen, but there is a scene in which Nico is on the phone, the uncle is playing video games and the grandmother is watching television: we have been addicted to screens since many years ago,” he reflects.
FROM THE FUTURE TO THE PRESENT
Six years ago, Eduardo was inspired by concepts such as the metaverse, which refers to the interaction of humans in digital environments based on digital avatars.
This to create a complex story with a philosophical reflection on human interaction with new technologies and the possibility that life is actually a simulation created by someone else.
“The project is an ecosystem and, although the word metaverse is already choteada (threshed), that was the intention. The main character is a ‘glitch’ (an error) in the metaverse, and this piece interacts not only with the film but also with spectacular ones, with the soundtrack, with the social networks of the characters and with his work as an NFT artist. (Non Fungible Tokens)”, he explains.
This ecosystem also includes the viewer himself who will watch the film, which premieres in national theaters on April 28, through a screen, be it a cell phone, television, a movie theater or even as an NFT.
According to the film’s producer, Mate Zúñiga, the road to finish the project was long, but very visionary.
“We got so far ahead of ourselves that the future caught up with us in the present, many of those things were fiction and today they are a reality,” he details.
Eduardo, who is an actor in films like “Matando Cabos” (2004) or series like “XY. La magazine” (2009), confesses that despite the fact that the pandemic caused a considerable delay in the making of the film, it worked in his favor, since most likely the subject would not have been as well understood or received by the public that it will now have. the opportunity to connect.
One of the aspects that the director highlights was the financing plan that he and Mate created to make “The Mandela Effect” a reality.
“We tried to make the film in a traditional way via tax incentives in Mexico and we did not come to fruition three times, so we designed the way to do it. The production company became an SA in which all the people who participated in it became partners in it”, says Zúñiga.
Finally, Eduardo confesses that the film does not seek to demonize technology but to make a comment about it and advances that the conclusion of the film is “very spiritual.”
“The next project will take place in a jungle where there is no electricity to get me away from this world that I am stuck in there in a Matrix that is beginning to annoy me,” he says.