Crime story
With his short film “Free Kick” placed in the Cannes Short Film Corner selection back in 2010, Panamanian filmmaker Gurnir Singh has gone on to work for numerous brands and organisations including Red Bull, Adidas and UNICEF. Graduating from South Seas Film Academy with degrees in directing and screenwriting, his early film education was born out of watching bootleg VHS tapes at a store where his uncle worked. Sometimes, crime pays in creative ways and in his feature debut Chacaleria we explore how individuals take full advantage of the system...
Self-made entrepreneur Antonia attempts to secure her financial future by selling and distributing alcohol illegally after losing her livelihood to the COVID-19 pandemic and made all the worse by Panama’s nationally mandated dry law. However, Antonia’s plans become increasingly more difficult when cop Ronny, catches her in the act and, in a moment out of character, blackmails her into robbing a bank.
I had the opportunity to ask Gurnir a few questions about his film; a clever and entertaining snapshot of a part of the world we rarely see depicted on screen…
Let’s talk about those bootlegs; a liminal moment, surely, and original film school in Panama…
Basically, there was no blockbuster in Panama so we would get boxes of unmarked pirated VHS tapes shipped from the US and… well… someone had to see them to know what was on them! [Laughs] But, I didn’t just watch the movies; I had the task of writing the synopses for them, which taught me how to break down complex narratives into compelling summaries. This experience (child labour!) shaped my understanding of storytelling early on, giving me a unique perspective on how to craft a narrative. This “self-education” through film influenced my approach to filmmaking, where I strive to create stories that are both visually striking and deeply engaging. It was all very “’90s”, if that makes any sense.
As a filmmaker, I’m constantly exploring new narratives and pushing the boundaries of conventional storytelling, always aiming to craft films that resonate with audiences both visually and emotionally.
Where did the premise of the film come from and what were you setting out to say?
The inspiration for Chacaleria came from a very real experience during the COVID-19 pandemic. I went to the bank to withdraw some cash, thinking it was smart to have some on hand given the uncertainty of the times; and this paranoia there was going to be a run on the banks. In Panama, when you withdraw a certain amount of cash, the bank usually asks all kinds of questions to verify the transaction. They did ask me those questions, but what struck me was that they never asked me to show my face because we were all wearing masks due to the pandemic. That got me thinking: if there was ever a perfect time to rob a bank, it would be now.
From that moment, the idea of Chacaleria started to take shape. The film explores themes of opportunity and desperation, and how crises like the pandemic can create unexpected situations where normal rules don’t seem to apply. Through this story, I wanted to delve into the moral ambiguities people face when they’re pushed to their limits. Something that I feel we are all living… unless you’re a trust fund kid!
As life gets harder and more expensive every day, the difference between right and wrong starts getting very blurry. I mean we are in a state of constant crises, housing crises, inflation, job crises… the list is endless.
Without spoiling too much, there are some interesting character setups in this film. What comes first for you as a filmmaker, story or character?
Story is character and character is story. This sounds so pretentious, but I don’t think there can be a separation between these two. You are who you are because of the situation you’re in, and you are in the situation you’re in because of who you are. It happens in life, happens in the movies… happens in TNT. Hopefully, you guys understand what I mean.
Drone footage. Gurnir plays with camera and narrative in CHACALERIA
What are your influences as a filmmaker, within and beyond the realms of cinema and genre filmmaking?
So many. Michael Curtiz, Alfred Hitchcock, Sergio Leone, Akira Kurosawa, Quentin Tarantino, Tony Scott, Nicolas Winding Refn, Andrew Dominick, Lars von Trier, John Hughes. Every film I have watched, no matter how “good” or “bad”, I have learned something from. I’m really into the thriller genre… although I’m specifically obsessed with the theme of “crime as a necessity versus crime as a luxury”.
Why did you feel the use of the faux footage style was the way forward with Chacaleria?
I wanted to make it personal. It’s very risky since breaking the 4th wall as much as I did could alienate a lot of viewers, but it felt natural, especially with the themes of the movie. I mean every time we do something that isn’t socially acceptable we always monologue to other people (or ourselves) and feel justified in doing it.
What is the most important thing you have learnt working on this project?
I know how to work on a budget [laughs]. But seriously, if there are any first-time directors reading this: stick to your vision. Everyone is going to try and change it. Experienced crews tend to run over first-time directors, so stick with what you want, because if it doesn’t work out at the end it’s your fault. Now if someone improves your idea, go ahead and take the advice… but know when to say no.
What do you want an audience to take away from watching Chacaleria?
I want them to be entertained and then, as a plus, also think about the realities of the modern world. If you get into the philosophies of the characters and situation it’s great… but mostly be entertained.
You can follow Gurnir on Instagram and keep up to date on CHACALERIA over on his official site and watch here until September 30th.
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