Ibrahim left Conakry, Guinea for Spain, and his life and family now reside in Madrid. One day he is arrested by police and sent back to his homeland. Since then, his sole objective is to return to Spain. After crossing much of Africa, he finally settles in the immigrant camp that sits between Africa and Europe.
In line with the guidelines, Benito Zambrano’s Bounce portrays the journeys thousands of migrants undertake daily to reach Spain in search of a better future.
New film from the director of Alone and Outdoors arrives at the Malaga Festival and is slated for a theatrical release on April 12.
– How did the idea for El Salto come about?
– The project El Salto is driven by the screenwriter Flora González. She writes because she wants to, alone and without being asked. The first thought that came to mind was that finally there is money and a script to tell this story. He had long wanted to address these topics. They moved him, hurt him, and affected him as a citizen and filmmaker, yet he could not find a channel to express it properly. Research followed. They visited Melilla, Algeciras, Seville, and Madrid. They spoke with many people, migrant girls, NGOs, and experts.
“Humanitarian crises will always exist”
– The cast primarily reflects African or sub-Saharan origins. Did this contribute to shaping the story?
– While the lead actors did not live through this drama, some cast and crew members did. Those who boarded boats, those who jumped fences back into Spain, and those who arrived as children because their parents sent them by boat. There was even an actor who once led a camp on Mount Gurugú.
– You say this was the most necessary film you made with Solas. Why?
– For me, it should be the most useful and meaningful because it acts as a tool to raise visibility, to discuss the issue, and to protest. It highlights the drama of what is happening. This is inhumane and needs a solution.
– Some say humanitarian crises are a headline grab. Do you think your film lands at an important moment?
– Crises will persist. If not climate issues, then war or coups and misery. When Africa is impoverished, growth and development stagnate. People want to travel, learn, and move. If one travels as a tourist, one comes with money and a passport, which is accepted. If actions differ, trouble follows. The message is clear: Europe will need immigrant populations.
– Is there a double standard about the origin of migrants? Are some immigrants better received than others?
– Africa faces two intertwined problems: race and religion. Many newcomers are Black, poor, and Muslim. There is resistance. Yet some fair-haired individuals with no financial worries, possibly Christians or Protestants, encounter less concern. People fear a mixed-race Europe. Change seems inevitable, and it is essential for labor needs. When people enter under irregular conditions, others may exploit them.
– Mount Gurugú, the Melilla hedges, or Nador are key locations in the film. Where were they shot?
– Everything was filmed in Spain. The production took place in the Canary Islands and Madrid, with Mount Gurugú scenes filmed in Pelayo de la Presa and the rest in San Martín de Valdeiglesias. Morocco could not be used due to travel restrictions from the pandemic and legal complications, which made on-site research and filming unfeasible.
“Africa’s problem is twofold. It is both racial and religious.”
– What was the hardest moment during the shoot?
– The fence scenes were particularly challenging, a tense stretch of five nights. Emotionally, there were moments when the writing and editing felt heavy, especially after reading true stories and related books.
– What do you hope audiences take away from this drama? Will it be more humanized?
– The wish is for a deep sense of empathy toward outsiders. To believe that someone arriving from elsewhere simply seeks a better life, not to cause harm. Leaving one’s homeland out of necessity is not a whim. Wealthier audiences may act on whim; the poor act out of necessity.