Iñárritu went to Casa Libra and other organizations helping displaced people from Latin America, many of them from Honduras and Guatamala. They travel through Mexico via a series of “coyotes,” often piled like logs on top of each other in trucks; most of the time, they are caught and detained by U.S. border patrols and helicopters.
“Carne y Arena” — “Flesh and Sand” — takes us to one of those locations for a series of border captures. We are in the desert, where we see dehydrated people with bloody feet, often having lost their shoes, taken violently by cops to detention centers.
The 360-degree immersion began. As I got my magic-hour bearings in the scrubby desert with mountains in the distance, people began to appear in the bushes, making noises of discomfort and pain, and as it got dark, they cowered and screamed as a helicopter deafeningly lands — the ground vibrating — and border patrol agents bark orders and threaten, pointing guns, ordering them to “get down!” It’s noisy, scary chaos, as cops pull people out of hiding, wrestle them into submission, and drag them away.
“I did not know technically how to solve this,” he said. “The amount of data and amount of rendering is huge. They had to develop new ILM computer systems to allow this.”