Julio Torres

Yeah, I mean, to preface it, the road to finding a title for the movie was long.

It had many titles during many different points, and none of them felt completely right.

And then at one point, we were toying with the idea of calling it Problema.

which is just literally means problem.

And then I just, I don't know, I just felt dread calling this movie problem because it just felt so dreary and that's not the tone of the movie at all.

So then I was trying to find something a little bit more playful and I was thinking of what you would call someone in an artistic movement in Spanish, like a surrealist, this surrealista.

And then I thought, well, then maybe someone who creates art from problems is a problemista.

So I just sort of made it up.

And it sounds like, it almost sounds like the kind of thing that you'd make up in slang in El Salvador, sort of in the way that like,

You know, you hear about people being fashionistas or maximistas.

It's like, oh, a problemista is someone who is attracted to problems or thrives within problems.

I am someone who is certainly attracted to problems and ends up making work inspired by those problems.

Well, this movie.

What was the problem?

I mean, obviously, the bigger problem that was solved by the time I made this movie was the visa problem and how that ended up not being a hurdle that I had to overcome to then move on and make work.

That ended up being the thing that I made the work about.

and just sort of the joy that I found in dealing with that problem.

You know, this movie deals with the problem of immigration, but I think of it as a very silly, happy and joyful movie.

That just sort of, it's almost like the bureaucracy becomes this bouncy castle that the characters just get to play and laugh about.

And then there's also just like the fact that like it's my first movie and I made something that is so ornate, for lack of a better word.