In this presentation, which is the second of a series of classes on the ELEMENTS: earth, air, fire and water, Ken goes into great detail about air, breath of life, that includes stories, ... See full summary »
A group of street kids find that the only way to make it through the day is to hold onto their dreams while their reality is eating out of dumpsters, turning tricks and squatting in abandoned buildings.
Everyone wants to find a suitcase that the sons of El Patrón had the night when the where killed. La Lectora is kidnapped, by El Patrón guys, to read a Journal in German where they hope to find the clue the get to the mysterious suitcase.
Riccardo Gabrielli R.
In the 21th century getting hold of natural resources of emerging countries, is no matter of war--it is a matter of complex financial actions. And the power of governments behind the events... See full summary »
Lola and Alfredo survive on the fringes of crime. Their business comes to an abrupt end when Alfredo is arrested. Lola gets the chance of working in a jazz club where the couple meet some ... See full summary »
In this presentation, which is the second of a series of classes on the ELEMENTS: earth, air, fire and water, Ken goes into great detail about air, breath of life, that includes stories, myths and examples of how we are interacting with this element every day. This presentation is classroom worthy from grade school to college, loaded with information I'm sure you didn't know. Enjoy! Written by
A clever use of noir to provoke a series of mediations about history and violence at the end of the century in Colombia. Soplo is set in the context of the Armero disaster in 1985 - a volcanic mudslide which, conveniently for the government, buried investigations about a political tragedy that occurred only a few days before (the incident of the Palacio de Justicia). The film in some senses 'unburies' this tragedy although does not, as viewers will see, refer to the Palacio incident. Instead it uncovers structures of machismo, corruption, drug-trafficking (to some extent) and social breakdown that natural discourses of violence often forget. Aesthetically it is quite heterogeneous, and blends noir scenes (marginal locations, nighttime shots, black and white) with images of the post-apocalyptic landscape of Armero. Great performances all round, a wonderful script, and an absolute feast of cinematic references for film buffs out there who are doubtless more knowledgeable than I am. A breath of life (and of fresh air) for Colombian cinema at the end of the millennium.
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