Ímpeto
Directed by Juan Ruy Castaño
Ímpeto is a short experimental film directed by Juan Ruy Castaño that combines dance, music and architecture to create a singular vision of the human body in space. We love work that breaks boundaries and plays with combining genres and forms together, so we were eager to ask Castaño a few questions about what inspired him, Bogota’s brutalist locations, the relationship with Colombian label A New Cross and his collaboration with choreographer Sarah Storer.
What led you to direct Ímpeto? Why did you feel it was important to make this film?
I think the impulse came from collaborating with this group of people enjoying our artistic perspective. We have worked before in different commercial projects, but this time we could create something from scratch. The premise was to combine dance, architecture and fashion in a single piece. And to have fun while shooting it.
You mention that Ímpeto "combines dance, music and architecture to create a singular vision of the human body in space". Can you elaborate on this? What's the relationship between these three worlds?
Well, I’m a huge fan of architecture. And I’m interested in the idea that both architecture and fashion are omnipresent; everything is architecture. A blank space is a very specific space construction, and I suppose nature is the more complex form of architecture. Same happens with fashion; nudity, for example, could be also a fashion statement.
In Ímpeto I was driven by that feeling you get when you’re in an empty theatre. To be in such a massive space when it is not in use, or when you are alone backstage, is a very specific type of feeling. To me it feels like a whole world on its own, like a little town, so I wanted to put some characters in that town. Musical characters. I find the juxtaposition of brutalism and lightness always poetic, so we went for heavy structure in the building vs the elegant lightness of the brand A New Cross in the costume design.
“The premise was to combine dance, architecture and fashion in a single piece”
Following up on the previous question, can you take us through your role as a director in this film? What was the collaboration with choreographer Sarah Storer like? And how did you make sure music, choreography and direction came together?
Working with Sarah was great! Specially because of her generosity. Most of the dancer’s experience come from stage performance, so the challenge is similar to what happens between a theatre actor and a film actor. Basically, the camera captures small or micro expressions that a live audience could never see. We worked together to bring the choreography from a a staged performance into one that could live on camera
As architecture plays a leading role, the locations are obviously stunning. Where did you shoot? And how did you research and select them?
We had worked with the Teatro Mayor for some time and Ímpeto is entirely shot in the amazing building by Colombian architect Daniel Bermudez. The theatre is a well-known space of Bogotá, but we wanted to show it from a different angle, we wanted to show something new. We didn’t want any shots of the frontal façade, or of the main hall or corridors. For the exteriors, we decided to use elevated shots, to challenge the normal everyday street walker point of view. Once inside, we went for the inner workings of the building: parking lots and the unused backstage spaces. At the end of the film, we see the view from the main stage towards the tribune. We decided with DP and coproducer Nicolas Garcia to shoot the interior with all the lights off and work with the very minimal natural daylight coming through the roof. It’s a new perspective that the public doesn’t normally get to see when they go to a show in el Teatro Mayor.
Can you tell us about your background? What led you to enter the dance world? And what would you advise emerging film directors looking to enter this world?
I actually studied music production, not film direction. I was a musician for a while and then I had a radio show for many years. Everything I do is closely related to music. Much like a music video or a dance film, I find the editing room is very musical place. The postproduction process in general is very musical.
My advice is to pursue personal projects. I love the experience of working with clients, but I think when you do it for yourself is when you’re really crafting something from your gut and finding your voice.
What are you working on next?
Horror script, large format photography and a dance film in Berlin.
Director: Juan Ruy Castaño
Producer: Walter Escamilla
Producer: Juana Fernandez
Cast: Compañía de Danza Teatro Mayor
Choreography: Sarah Storer
Executive Producers: Walter Escamilla, Juan Ruy Castaño, Juana Fernandez, Laura Escobar, Nicolas Garcia Ruiz
Director of Photography: Nicolas Garcia Ruiz A.D.F.C