by Gary M. Kramer, Staff Writer

A superb slow-burn thriller, Cadejo Blanco is set largely in the Guatemalan underworld, where Sarita (Karen Martínez), a working-class young woman in Guatemala City, searches for her missing sister, Bea (Pamela Martínez). 

Bea has been secretly involved with Andrés (Rudy Rodriguez), a gang member. On the night she gives Andrés an ultimatum, Bea does not return home. Sarita, distraught by this development, slyly investigates by trying to befriend Andrés, while keeping her true motivations from him. (Sarita is very shrewd and savvy, holding her own against two lecherous older guys on a nightclub dancefloor, or blackmailing her rich fuck buddy). 

Following Andrés to Puerto Barrios, Sarita insists she wants to join his gang. However, he is wary of this stranger and her intentions until Sarita comes in handy; she can be used as bait to lure and kill a rival kingpin, Oliveiros, (Juan Pablo Olyslager). While Sarita is clearly in over her head, she also sees the opportunities she is presented with as possibly the only path to discovering what happened to her sister. 

Writer/Director Justin Lerner ratchets up the tension as Sarita gets deeper involved in Guatemalan gang life (as well as possibly romantically involved with Andrés). A scene in a barber shop where Sarita has to kill or possibly be killed is masterfully filmed. 

Martínez delivers a knockout performance that is all nerve—just watch her mouth tremble slightly in one tense conversation with a gang leader. And one cannot help but feel her vulnerability when she is trapped in a hotel room with the dominating Oliveiros. How things play out is quite unnerving, but Cadejo Blanco is a film as tough as its heroine.

As Oliveiros, veteran Guatemalan actor Juan Pablo Olyslager (Temblores, La Llorona) makes a strong impression in his pivotal role. The actor chatted with MovieJawn about making Cadejo Blanco. 

Guatemalan cinema has been on fire lately with Temblores and La Llorona, both of which you starred in, as well as Our Mothers, Ixcanul, and now Cadejo Blanco. What observations do you have about your country’s national cinema and these intense films being made? Is this a reflection of Guatemalan society?

Guatemala cinema is growing, especially with the directors of the films you mentioned. The directors have experience shooting elsewhere; they learned cinema abroad. Justin Lerner, the director of Cadejo Blanco, he lives in L.A., and he teaches in a Guatemalan cinema school. That’s how he initially got involved in Guatemala movies.

Regarding the subject, you cannot paint Guatemala with a broad brush. Temblores shows a different Guatemala than Cadejo Blanco shows; Ixcanul shows a different Guatemala than La Llorona. They have their similarities, but I think there are many parts of society that directors want to show, but this film wants to shine a light on the social problems like gang problems, drug problems, and violence against women. Those things are very commonplace, sadly, and I hope these films do their part in changing something.

What appealed to you about playing Oliveiros? He’s a badass. I loved his look and his swagger. His confidence was off the charts. Can you talk about getting into character?

When Justin showed me the script and talked to me about Oliveiros, I was hooked. He is a different character than I’ve played in my previous movies. It was a challenge for me because he had a different accent and a different composure. I studied some interesting characters from the Eastern part of Guatemala where we have these kinds of people. I really enjoyed creating him including how he looks, because I had a lot of creative input. I went to my dentist and said, “Fuck it! I want to have gold teeth!”  I met some people who act like that, and I know some people from the past and from other movies. I loved it. What can I say? I loved playing this badass. When can you have the chance of playing a badass if not in a movie?! [Laughs.]

You play an imposing figure, and his scenes with Sarita are creepy. Can you talk about Oliveiros’ masculinity and power?

Guatemala is a male-dominated culture, like many parts of the world. But here, we have lots of machos who see women as objects, and they think they can do whatever they want with women. Karen’s character is faking being a sex worker and Oliveiros sees something interesting in her, but he also thought she’s lying. This portrays the condition of women in Guatemalan’s society which is sad. I think Ixcanul also shows in a different way. I really like to make films that have a social impact and create a visibility to problems that need to be addressed. When I say I enjoy playing Oliveiros, I enjoy portraying a badass, but I do not agree with his ways at all. I enjoy it from actor’s point of view. Interestingly enough, the only country in Central American where women are empowered is Nicaragua. It’s different from Guatemala, El Salvador, and these Latin American countries that have a common denominator of having machismo societies who treat women like objects. That needs to change. 

How familiar are you with the gang culture in Guatemala? The film depicts some pretty uncomfortable situations and felt pretty authentic. Are there dangers about shining a light on this social problem?

It could be dangerous, but it is so well known by Guatemalans, who read it in the papers. Gang violence has gone down in Guatemala. It was worse in the past, but it is so common to read about now that gang members might enjoy this film and seeing themselves portrayed. The cast had 3-4 profession actors, and some of the natural actors were real gang members, which makes it more interesting. 

About 12 years ago, I shot a film V.I.P.: Very Important Prisoners, in a real prison. The prisoners were not afraid of the film showing what they do inside the prison. They enjoyed the process and being depicted as they are. I don’t think gang members see themselves as bad people. They rationalize their crimes. I think they are a product of this society in certain places or areas. There are many subcultures and different parts of society. This film by no means represents all of Guatemala. There are a lot of Guatemalas, just like there are a lot of different Americas. 

What was the reception like in Guatemala for Cadejo Blanco? Was the film controversial?

It is controversial because of subject the film touches, but I am used to this kind of cinema. There are many films and series that touch on tough subjects, so maybe people are desensitized. Most people, sadly, watch it for entertainment purpose, not to say “Oh, my God, this is what is really happening.” Which is probably the case for people who are in countries like the United States.

Can you explain the title for American viewers?

Cadejo is like a dog.  We have a black cadejo and a white cadejo. A white cadejo is a figure that protects you in the Guatamalan culture. The black dog is the opposite. 

Cadejo Blanco plays in select theaters April 21; expanding thereafter