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 ...
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Angela, 12 years old and her three stepsisters around their 30s. All of them, daughters of a charismatic slacker who just died. Angela must find a new home by crossing half of the country ... See full summary »
Lina Sanchez Calderon,
Loren Paz Jara,
Maria Camila Mejia
Fictional film that simulates being a documentary about filmmakers who exploit the misery with mercantilist purposes. It is a scathing criticism "porno-misery" and the opportunism of the ... See full summary »
Luis Alfonso Londoño,
Aging Cuban musicians whose talents had been virtually forgotten following Castro's takeover of Cuba, are brought out of retirement by Ry Cooder, who travelled to Havana in order to bring the musicians together, resulting in triumphant performances of extraordinary music, and resurrecting the musicians' careers.
Manuel, 9, has an old ball with which he plays football every day in the countryside. He dreams of becoming a great goalkeeper. His wishes seem set to come true when Ernest, his father, ... 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 »
Leidy María 'Lady' Tabares,
Camilo, Mechas, Manu, Ana and Pipa are five friends going through that blended trance of intense unrest, astonishment, contained tenderness and manifested rage that is typical of the end of... See full summary »
Juan Sebastian Mesa
Maria Camila Castrillón,
Maria Angélica Puerta
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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