Gael García Bernal Hopes New Film ‘Hombre al Agua’ Echoes ‘Amores Perros’ Longevity

Gael García Bernal is set to showcase his third feature film as a director, “Hombre al Agua,” which will have its world premiere at the Venice Biennale followed by its North American debut at the Toronto International Film Festival. Known for his leading roles in seminal Mexican cinema such as “Amores Perros” and “Y Tu Mamá También,” García Bernal has established himself behind the camera with films that persistently examine social stratification.

The narrative of “Hombre al Agua” continues this thematic exploration of class, a subject also central to his previous works, 2007’s “Déficit” and 2019’s “Chicuarotes.” In an interview with Variety, García Bernal explained that the relevance of these struggles persists, though the dynamics have shifted rapidly. “I think class is undoubtedly a theme I’m drawn to, partly because the struggle has not been resolved,” he said. “So, it felt important to explore it, but also to question where we are now and where we are heading.”

In the new film, García Bernal stars as Camilo, a Cuban lifeguard who rescues Abel, a Mexican businessman, from drowning. In gratitude, Abel brings Camilo to Mexico to serve as his assistant and introduces him to his daughter, Juana, whom Camilo eventually marries. However, Camilo soon discovers that his elevated status is part of a manipulative scheme. As his marriage unravels, he attempts to reclaim his autonomy.

García Bernal noted that the project also serves as a vehicle to investigate modern masculinity and relationship dynamics through a comedic, meta-cinematic lens. He aims to reflect the current political and social landscape of Latin America. Drawing parallels to his career-defining early work, he expressed hope for enduring impact. “When [Amores Perros] came out, it became something extraordinary and transcended time. Twenty-five years later, we’re still celebrating it,” he recalled. “I hope my film will also transcend time in some way… I do hope it says something, because I think it is very relevant to the world we’re living in right now.”

The production involved a pan-Latin American cast, including Esmeralda Pimentel, Debóra Nascimento, Natalia Oreiro, and Jorge Salinas, who previously appeared in “Amores Perros.” Filming took place primarily in the Yucatán state of Mexico, with additional sequences shot in Mexico City and a brief three-day schedule in Havana during December.

García Bernal credited Argentine playwright Mariano Pensotti with helping to structure the non-linear script, which he began developing eight or nine years ago. He also reflected on the mentors who shaped his filmmaking approach, citing the rigor of Alejandro González Iñárritu and Alfonso Cuarón, the generosity of Walter Salles, the practical methodology of Michel Gondry, and the boldness of Pablo Larraín.

Securing funding proved to be the most significant hurdle. Investors were reportedly reluctant to back the project when García Bernal insisted on casting Cuban actors for the lead role. Ultimately, the film was produced by La Corriente del Golfo, the company he founded with Diego Luna, alongside Cárcava Cine and Redrum. Despite appearances of a larger budget, the team completed the film on a minimal budget, circumventing the modern industry trend toward data-driven greenlights. Paris-based The Pool Films is handling international sales for the project.