August 6, 1956 during the military dictatorship of Rojas Pinilla. Explosions in central Cali military convoy destroy much of the traditional buildings of the city and exposing the roots of ... See full summary »
13-year-old Monica leads a street life, making her living by selling flowers to couples in local nightspots, she is joined by 10-year-old Andrea who runs out of her house after her mother ... See full summary »
Julia finds 300 million pesetas hidden in a dead man's house while selling an apartment. She's a 40-ish real estate agent now forced to face the wrath of a very peculiar community (of ... See full summary »
Álex de la Iglesia
Fictional film that simulates being a documentary about filmmakers who exploit the misery mercantilist purposes. It is a scathing criticism "porno-misery" and the opportunism of the ... See full summary »
Luis Alfonso Londoño,
A lot of people live in an ocupated house; after many years of quiet living, the owner of the house wants them out. They try whatever they can to avoid being put out, without sucess. But ... See full summary »
August 6, 1956 during the military dictatorship of Rojas Pinilla. Explosions in central Cali military convoy destroy much of the traditional buildings of the city and exposing the roots of some houses which for years had kept the secret stories of its inhabitants: Proprietary notable families of Manors sugar mills and surrounding. One such family is visited by a girl, who has lived for years in the U.S., and is half sister of our young protagonist. It is knowledge, dig into the past of the family¸ attracted to each other¸ and are immersed in a delirium in which they appear as mythical ancestors who also starred in stories of incest and violence. Written by
An extremely interesting film about La Violencia in Colombia which captures the strange social and political heterogeneity of this dark set of events. Mayolo developed his own aesthetic - partly in collaboration with filmmaker Luis Ospina and the late Andrés Caicedo - 'el gótico tropical' in order to convey this strangeness. The film combines local Colombian myths - caspi, la madremonte, el hojarasquin del monte - with themes of vampirism and incest to convey the place of La Violencia within a repetitive and cyclical history characterised by interpartisan conflicts that benefit the empowerment of the Colombian aristocracy. Opening with a series of cross-cuts showing, alternately, a dying grandmother, and a group of graverobbbers in the countryside of the Cauca region, the film (as suggested by these images) delves deep into the 'other scene' of political life and into the dark quasi- supernatural forces driving it. Whether Mayolo's 'tropical Gothic' works is another matter, and whether it is Gothic or indeed baroque is a question that the spectator might wish to ask him/herself. Some of the performances are strong (particularly Mayolo's own cameo as the family chauffeur-cum 'pájaro'), others, however, are fairly weak - in particular that of Andrés Alfonso and Enrique, the Communist uncle, whose performances waver between the wooden and the melodramatic. The whirring, moaning soundtrack nicely conveys the sense of historical repetition.
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