It begins with the tragedy of Armero, during the course investigates the murder of a beautiful woman and on his way some people die in the end a killing and a cemetery. Emerson Roque Fierro... See full synopsis »

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Cast

Cast overview, first billed only:
Fernando Solórzano ...
Emerson Roque Fierro, the detective
...
Golondrina / Pilar, the dead woman
...
Jacinto, the transvestite
Constanza Duque ...
Irene de Domingo, the mysterious woman
César Mora ...
Magician, the blind man
Álvaro Rodríguez ...
John Jairo Estupiñán, the police officer
Álvaro Ruiz ...
Medardo Ariza, the politician
Edgardo Román ...
Óscar 'Hammer' López, the boxer
Juan Pablo Franco ...
José Luis Domingo, the bullfighter
César Badillo ...
Hugo Mora Sastoque, the taxi driver
Jaime Iván Paeres ...
Fat guy
Frank Beltran ...
Arley
Mónica Campo ...
Bartender
Jaime Andrés Uribe ...
Dependant
Rosario Jaramillo ...
Casino employee
Edit

Storyline

It begins with the tragedy of Armero, during the course investigates the murder of a beautiful woman and on his way some people die in the end a killing and a cemetery. Emerson Roque Fierro... See full synopsis »

Add Full Plot | Plot Synopsis

Genres:

Drama | Thriller

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Details

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Language:

Release Date:

2 May 2001 (France)  »

Also Known As:

Soplo de vida  »

Company Credits

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Technical Specs

Runtime:

Aspect Ratio:

1.66 : 1
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Connections

Spoofs Psycho (1960) See more »

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User Reviews

 
Noir a la colombiana
17 March 2006 | by (United Kingdom) – See all my reviews

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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