Rodrigo Prieto Discusses His Directorial Debut 'Pedro Paramo and Critiques the 'Inauthentic' Mexican Portrayal in 'Emilia Perez . .

                       Rodrigo Prieto played a double role at Camerimage . .

This year, veteran cinematographer and Camerimage Golden Frog winner Rodrigo Prieto served on the jury for the festival’s international competition, alongside Cate Blanchett. Beyond his jury duties, Prieto was also in town to promote Pedro Páramo, his feature-length directorial debut, now streaming on Netflix.

Best known for his work as a cinematographer on groundbreaking films like Amores Perros, 21 Grams, and Babel, Prieto has been instrumental in the resurgence of Mexican cinema and is now one of Hollywood’s most sought-after cinematographers. He managed to prepare Pedro Páramo while simultaneously working on two of the year’s biggest films: Greta Gerwig’s Barbie and Martin Scorsese’s Killers of the Flower Moon.

“I was shooting Barbie at the time, constantly rereading the novel Pedro Páramo and writing essays about it,” Prieto shared, explaining the demanding balancing act he undertook to bring the adaptation to life.

The film is based on Juan Rulfo’s classic novel, a cornerstone of Mexican literature. It follows Juan Preciado, a young man who ventures to the ghostly village of Comala in search of his father, Pedro Páramo. There, he discovers a community haunted by its oppressive past under Páramo's rule.

After premiering at TIFF, Pedro Páramo launched on Netflix on November 6. Below, Prieto discusses the challenges of adapting such a complex story, the production process, and his views on authenticity in filmmaking.

On the Challenges of Adapting Pedro Paramo . .

Prieto revealed that the project came to him unexpectedly. “I was in Oklahoma working on Killers of the Flower Moon when a producer friend told me Netflix had the rights to Pedro Páramo. They asked if I wanted to direct it. I foolishly agreed—it’s such a complex story,” he laughed. Netflix initially wanted a PG-13 adaptation, but Prieto pushed for an R-rating, citing the novel's mature themes of incest, violence, and nudity. “You can’t adapt Pedro Páramo without being true to the book’s essence,” he insisted. Netflix eventually agreed.

Collaborating with screenwriter Mateo Gil, Prieto reworked the script to align with his vision, balancing historical fidelity and artistic innovation. “It’s a structurally and emotionally complex story,” Prieto said, noting the production’s technical challenges, including recreating Comala across different decades.

A Unique Cinematic Vision . .

Prieto also served as co-cinematographer alongside Nico Aguilar, a decision driven by the story’s demands. “As a director, I was deeply focused on the plot and emotional moments, but I knew the visuals required meticulous attention,” Prieto explained. Despite the intense workload, he described the experience as profoundly rewarding.

He chose a raw, naturalistic style to ground the film’s supernatural elements. “In the novel, the characters themselves don’t always realize they’re dead,” he said. “I wanted the audience to feel the same gradual shift from realism to surrealism.”

Balancing Barbie, Killers of the Flower Moon, and Pedro Paramo . .

Juggling these massive projects was no easy feat. “I’d shoot Barbie during the week and spend weekends working on the Pedro Páramo script,” Prieto said. “I’m terrible at multitasking, but I focus intensely on whatever’s in front of me.”

Criticism of Emilia Perez . .

Prieto also shared strong opinions on Emilia Pérez, Jacques Audiard’s film set in Mexico City, which he described as inauthentic. “It wasn’t even filmed in Mexico, and the lack of cultural detail was glaring,” he said. While praising Adriana Paz’s performance, Prieto criticized the film’s failure to involve Mexican creatives in key production roles. “The details matter. Authenticity matters. If you’re telling a story about Mexico, you need to involve people who truly understand the culture.”

Prieto cited Ang Lee’s meticulous approach to Brokeback Mountain as an example of how outsiders can respectfully represent unfamiliar cultures. “Even with Pedro Páramo, I’m not from rural Mexico, so I went there and spoke to people to get it right. Filmmaking is about the details.”

Final Thoughts . .

Reflecting on the experience, Prieto admitted to being exhausted but exhilarated. “Directing Pedro Páramo was intense, but I enjoyed every moment. Now, I think I might need a vacation,” he said with a smile . .