David is a Caucasian who lives in Tijuana; his girlfriend, Angela, is a prostitute and has taught him to roll his r’s like they do in Mexico. While David is searching for his cat in some abandoned downtown buildings, a man explains how the city’s drug king carries out a macabre rite to avoid problems with the police. Using a special knife he slits a dog’s throat and crucifies it, collecting its blood. In the meantime, a woman is obsessed by nightmares of a mysterious black dog that relentlessly stares at her.
“For me, things were simple. You must go to Tijuana like we go to Santiago de Compostela. There is a need to find something, a stick, a coquille Saint-Jacques, for his trip... why not a bone? Like a saint, an ossuary. The plan takes on a particular form if the amulet is a knife handle. Because in Tijuana, for many, survival is on the edge of the knife. The idea in life is to do good because life may be brief. And if you forget, there is always a bone or a corpse to remind you.”
Jean-Charles Hue (France, 1968) started off as a glass designer and stylist. After going to the Cergy Art Academy, he started making short films, features, and art documentaries. His works have been presented in many important contemporary art museums and galleries, as well as film festivals. He shot his first feature-length film Carne viva in Mexico in 2009, which premiered at Torino Film Festival 2009 and it was followed in 2010 by La BM du Seigneur. In 2014 Mange tes morts, selected at the Directors’ Fortnight, won then Torino Film Festival. In 2015 he presented at Frac Bretagne in Rennes a first work shot like Topo y Wera in Tijuana, Crystal Bullet, followed in 2017 by the short Tijuana Tales.
Pitbull Carnaval (doc., 2006), L’oile de Fred (doc., 2007), Y’a plus d’os (doc., 2008), Carne viva (2009), La BM du Seigneur (2010), Mange tes morts (2014), Crystal Bullet (2015), Tijuana Tales (cm, doc., 2017), Topo y Wera (mm, doc., 2018).
Yvón Guadalupe Venegas,
production, world sales