Set along the volatile desert border between Colombia and Venezuela, 'Pimpinero: Blood and Oil' dives into the dangerous world of gasoline smugglers known as pimpineros. The film follows Moisés (Juanes), the eldest of three brothers, as he navigates a treacherous landscape of corruption, betrayal, and survival.
In no man’s land, the line between good and bad blurs, and every man must stand up for himself and his loved ones. Pimpinero: Blood and Oil is a gritty tale of corruption, betrayal, and the cost of survival. Moisés , the eldest of three brothers, runs a high-stakes smuggling operation and finds himself torn between loyalty and fear.
I like throwing curveballs at the beginning, and my one curveball is looking right at you. You've recorded so much music, but there are going to be people out there who have never heard anything. So, if someone's never heard your music before, what's the song or two you'd want them to start with? JUANES: I remember I got home one day from rehearsals with my band, and my wife told me, “Andy is looking for you.”"Andy Baiz is looking for me? Oh my god! This is interesting." I spoke with Andy by Zoom, and he told me, “Hey, I’m doing this movie, and I want you to play Moises.” And I said,"Well, I mean, I’d really love to work with you. I love your work. Let me see if I can do it. So, I did have a casting.
It also helped me in so many ways that Andy is not even aware of because he asked me to play another Colombian guy. It gave me the self-assurance that what I was doing in Griselda was good. What I’m doing right now is good because this guy is giving me his next baby, and I love the character. I love Ulises. We got to spend about a year talking about it. There’s a reason this guy is my favorite director, as well as my friend.
Related 'Griselda's Director Didn't Want to Just Copy 'Scarface' Andrés Baiz discusses his inspirations for filming the Netflix miniseries, and Juliana Aidén Martinez explains meeting the real June Hawkins. BAIZ: It’s a film with a lot of action. It’s very emotional. It’s a journey. It’s a trip. I say a lot that it’s really about frontiers and borders and lines, but it’s not only about geographical borders — because this takes place between Venezuela and Colombia, which is a very volatile border and frontier — but it’s also about ethical, moral, family, and emotional borders and frontiers. That’s really the theme at the center of Pimpinero.BAIZ: That's right.
BAIZ: It was the first time that Juanes was acting in a film, and he did wonderfully. He was always very prepared, passionate, and generous. The cast was also very generous with Juanez, and it was a wonderful experience working with him. I think for every single one of your films it was the most difficult.
OSMA: For me, every single day was difficult. I was under a lot of pressure, but I also enjoyed it so much. Also, this is going to sound funny, but the ones I needed to drive because I’m not a good driver. BAIZ: I think Laura's character goes through so many different experiences. She puts herself through so much. Physically, emotionally, and psychologically, her character goes through everything. It’s really a journey.
OSMA: My first scene was with Juanes. I was really nervous. I just wanted to do my job, and I was very excited to work with Andy because I wanted to work with him. The first time I saw him was, long story short, I saw him in the cinema when I was 17 years old, and he was with his wife. I remember thinking,"Oh, he's Andy Baiz — I want to work with him one day." 10 years later, I was working with him.
BAIZ: The first cut of the film, you get sick, you get depressed. My wife has to stand my neurosis and depression. If that doesn’t happen to you, then you’re not a filmmaker — you don’t have a heart. But then, I’m very to kill my darlings, as you say. I don’t have any problem eliminating scenes. I actually go too far. I cut too much, and then it's a mess again. So, you have to find a balance. In the end, mostly everything that we shot is in the film, in a compressed version or not.
GUERRA: I don’t think when you’re shooting a movie, you’re thinking about that kind of outcome. You might be thinking about an outcome, but it has to do with how the movie will look together, how we’ll put it together. Not where it will premiere it or if it will go this way or that way. You’re looking at something you can’t control. It depends on the movie you have.
Smugglers Colombia Venezuela Film Festival Juanes
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