A Design of the Messages Which Shape Our World Through Film With Antonio Saucedo

 Antonio Saucedo perceives potential in a way that most cannot. While the title most often used when referring to him is that of production designer, his gift in fact is discerning how creativity can achieve its greatest potential. Growing up in Mexico City, he was surrounded by music and art. This resonated with a young Antonio who would go on to pursue theater and film, earning recognition like the Metropolitan Theater Award for Best Set Design for a Musical working alongside Jorge Ballina and others. His bond with high school classmate Abel Padilla would cause them to collaborate multiple times through the years on a variety of projects such as the music video Lost in a Feeling by Dzako, the short film Renata, the Eddie Van Halen Tribute at Sunset Sound Recorders, and others. Most recently, this creative duo has partnered on the acclaimed film Therapist of the Year and the upcoming Hopstanz.

  By design, Therapist of the Year is dark and obsessive, almost monastic. Saucedo, Padilla, and cinematographer Mario Nakasone painstakingly discussed and strategized a set with muted, dark green elements to align color, texture, and lighting for the film’s tone. Antonio playfully refers to this design of the set as a “shooting machine” which ideally blends visually compelling character with an ease of filming. Throughout the film there are subtle prompts to see the inner feelings of the characters, such as the initial scene which finds Dr. Saints sitting behind his desk, framed by a large stained-glass window which shows an unusual image of a hand pointing downward—a centerpiece of the set that casts his office in a cathedral-like atmosphere. Framed in certain shots to appear as if the “hand of God” was reaching toward Dr. Saints’ head, the imagery lends a quasi-religious undertone to his carefully curated temple of self-worship. Later, when Patricia (Dr. Saints’ patient) enters the room, her outfit boasts two small cherubic angels surrounded by red flowers—adding to the ongoing religious imagery. This visual opposition reinforces the perception of Patricia as Dr. Saint’s counterpart in the story; one who is just about to turn his world upside-down. Even deeper in the subtext are elements like the record on the turntable and the ceiling fan, both of which communicate the cyclic nature of all things and hint as to what lies ahead for the power dynamic of patient and therapist. For the astute film fan, there are easter eggs throughout Therapist of the Year which inform about the depth of preparation and meaning found in this film. Mentally, emotionally, and creatively, this is multidimensional storytelling at its highest level. 

  The creative fulfillment of Therapist of the Year made it intuitive for Mr. Saucedo to partner up with Abel Padilla on their current project, Hopstanz. Though originally written in English, the filmmakers decided to pivot to Hopstanz as a Spanish language film to be shot in Mexico. Antonio proclaims, “Filming in Mexico wasn’t the original plan. However, as the script was translated, Mexico quickly became the natural choice for the shoot. Mexico offers unique landscapes and architectural gems that not only provide potential filming locations but have also served as incredible references for inspiration that deeply influenced the film’s development during the research phase. There’s a unique energy in Mexico right now—especially in Mexico City—where the artistic and creative scene feels incredibly alive and collaborative. My experience in theater there has offered me a strong network of creative partners, some of whom are now contributing to this film. Mexico has a way of pushing you to find original, resourceful solutions, and I believe that kind of creative resilience is shaping the project into something truly unique and exciting.”

  Antonio Saucedo understands the strength of film. A film can open channels for discussion with characters as a proxy that feels less threatening to some while still having a sense of personal connection. He states, “I love crafting environments that evolve as part of the story, where all the elements work together to create a fully integrated experience. I don’t see the set as just a background—it’s part of the story itself. Along with costumes and props, it becomes a world that feels alive, responsive and connected to the characters and the story. I draw from everything I’ve learned in to translate those ideas to the camera. The message of Hopstanz feels particularly relevant today, in a time when political, historical, and cultural narratives are constantly shifting. I believe this story will resonate deeply with audiences, as it offers a chance to reflect on how we interpret and process the messages shaping our world.”

Writer : Basil Thomson