Working diligently to achieve their goals, no matter what obstacles they face along the way, is a powerful driving force not only for actor Luciano Pedro Jr.’s protagonist of Ninho in Ninho, but also for the team for the new science-fi thriller, ‘King Car.’ Brazilian filmmakers Renata Pinheiro and Sergio Oliveira cleverly gave the main character the opportunity to surrealistically speak with cars, which sparked a revolution that could save his community, as a way to comment on their country’s current political climate, by a prey to confusion and division.
The duo worked together, with Leo Pyrata, to write the script for the drama. Pinheiro then signed on to direct and Oliveira focused on producing “King Car”.
Dark Star Pictures is releasing the film in theaters and on VOD and Digital this weekend. King Car’s official release comes after its world premiere at the Rotterdam International Film Festival, its North American premiere at the Fantasia Film Festival and its American premiere at the Fantastic Fest. Pinheiro and Oliveira also won the Best Screenplay Award for the Thriller at the Raindance Film Festival in London.
“King Car” follows Ninho, a seemingly normal teenager whose dreams and personal goals clash with his father’s unwritten rule that he will join the family taxi business. A career in cars seems to be Ninho’s divine goal, as he can talk to vehicles and even befriends the car that saved him from an accident as a child.
But Ninho’s heart is drawn to the ecological preservation of Brazil, as he wants to work to save the earth and help the community that lives there. Since losing his mother at a young age, Ninho has been pondering what his legacy will be, and driving taxis and repairing cars is not enough to satisfy his ambition.
But then Ninho’s eccentric Uncle Zé Macaco (Matheus Nachtergaele) finds out how to improve old cars, which circumvents the law that prohibits cars over 15 from being driven on the roads. As a result, the two worlds of the teenager meet: sustainability and the survival of his community through their old cars.
Pinheiro and Oliveira generously took the time yesterday to talk about writing, directing and producing ‘King Car’ in an exclusive interview on Zoom. Among other things, the filmmakers explained that they believed it was important to highlight the current political unrest in Brazil in the storyline through the allegory of a teenager like Ninho being able to use his ability to bring about change in his community. The duo also mentioned that while they also enjoyed their experiences directing and producing the drama once it started production, they also had to overcome budgetary challenges and social stigma in order for the feature to be made.
The conversation started with Pinheiro explaining why she, Oliveira, and Pyrata were inspired to write the script for the drama and what the process of working together to create the story was like. “Our initial inspiration for the script came from observing our city – there are a lot of cars, and they have more rights than us humans. But the script has changed over the years,” he said. -she revealed.
“In the year leading up to the filming of the film, we thought it was really important to put in our political history. So this movie that everyone can now see is a fantastic story about a car that can speak, but it’s also a story about a place that has political speakers who speak in bogus words, ”Pinheiro also noted.
Oliveira then shared her experience working together on the script for “King Car”. “We also use elements of science fiction and have interwoven them with the political moment that we are currently living in Brazil. It’s a pretty political film, in a way, ”he admitted. “It shows the birth of a right-wing Brazil in a fascist-style government.
“We started writing the script in 2014 or 2015. But the political events that have occurred in Brazil since then have pushed us to show this situation more,” added the scribe. “So it’s a film that has a political message, that is opposed to the life of a young person who talks to cars. It’s a fantastic thing that happens to him, but history also has this (political) connection with our society.
Once production on the film began, Pinheiro embraced the experience of becoming its director. “It was really cool. We were working with friends and I had a great team because we were working with all these cars and actors, ”she explained.
“It was funny – I had all my shots we needed to shoot the footage with the car, but sometimes we forgot to shoot the image of the car. So I always said to my team: ‘Don’t forget that the car is also an actor’, ”explained the director. “When we had to shoot the dialogue sequences of the car, we had to shoot not only the dialogue, but also the image of the car.
“But the overall experience of making the film was really enjoyable. It was also hard work, but I enjoyed making the film,” Pinheiro noted. “Writing the script was actually more difficult than shooting the film. movie. “
“Raising money to make the film here in Brazil was also quite difficult,” Oliveira then revealed. “Every time we show someone the script, they don’t believe we can make the movie. Also, since Renata is a woman and she entered a very masculine world with all the cars, the people who were able to give us the funds didn’t believe that she could make the film.
While it was difficult to raise money to finance ‘King Car’, the producer felt that since “Renata is a very experienced production designer, we had a stepping stone to make the film, which is quite visual. So we were sure she could do it and bring what we wrote to the screen.
“But the actual production experience was quite difficult because we shot in a mid-size town in our state. There were about 45 or 50 people on the crew, which we had to bring to where we were. we shot the film, ”Oliveira explained.
“We shot the film in about four and a half weeks, which is a close tie for this type of film. When you watch the movie, it looks like it took over four and a half weeks to shoot, ”the producer continued.
“Money has always been a problem, because we didn’t have a lot to do a lot of things, so we had to improvise…, and they were able to help us a lot,” Oliveira added. “But the lack of money made it quite difficult to achieve what we wanted to do,” he concluded.