The story of the relationship between Karamakate, an Amazonian shaman and last survivor of his people, and two scientists who work together over the course of forty years to search the Amazon for a sacred healing plant.
A lot of people live in an abandoned house; after many years of quiet living, the owner of the house wants them out. They try whatever they can to avoid being evicted, without success. But ... See full summary »
This is a dark comedy that takes place in an urban jungle, where each has to ensure its own survival. No one is bad, but all acting for his own benefit and without measure if their actions ... See full summary »
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 »
During the marijuana bonanza, a violent decade that saw the origins of drug trafficking in Colombia, Rapayet and his indigenous family get involved in a war to control the business that ends up destroying their lives and their culture.
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,
In Colombia, from the second half of the nineteenth century, two political parties; The traditional liberal and conservative ¸ fought a series of civil wars for almost one hundred years of ... See full summary »
Victor Hugo Morant
Rodrigo and his friends are bored teenagers living in Medellin. Rodrigo wants to start a punk band. The youths mainly loaf around the hillside shanty towns and, for kicks, steal a bike or car, or shoot someone.
Carlos Mario Restrepo,
Jackson Idrian Gallego
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
For most of his life, Ignacio Carrillo traveled the villages of northern Colombia, playing traditional songs on his accordion, a legendary instrument said to have once belonged to the devil. He eventually married and settled in a small town, leaving the nomadic life behind. But after the traumatic death of his wife, he vows to never play the accursed accordion again, and embarks on one last journey to return the instrument to its rightful owner. On the way, Ignacio is followed by FermÃn, a spirited teenager determined to become his apprentice. Tired of loneliness, Ignacio accepts the young man as his pupil and together they traverse the vast Colombian terrain, discovering the musical diversity of Caribbean culture. Hardened by a life of solitude, Ignacio tries to discourage FermÃn from following in his footsteps, but destiny has different plans for them.Written by
Los Angeles Latino Film Festival
the things that are not said or done are the most important
there is a certain depth and a certain shallowness in this movie. i am going to speak about the first.
the little boy chasing his master is not supposed to be getting something explicit, as somebody commented here. the very fact that he has a nervous breakdown in the middle of the story, is enough teaching. As consequence, he tries his own path and is very bold in doing so. Although the story will not allow him to follow this type of courage yet, he does try. This is one of the most important things for him. Saying that I CAN DO IT.
the second thing the boy does get, although the average spectator does not seem to see this, is that the experience is not refused to him by his master. the master constantly taunts him, denies him, etc. as the boy says, but this is just a very select and appropriate way that this great master treats his maybe even greater apprentice. his art is no ordinary school, it's also a way of living, of understanding your place in society, etc. Although this seems very romantic and select, it's the way he does it, and not by being practical, sociable, etc.
the things that are not said or done are the most important. that's why a lot of people don't get this film at all. it's not for everybody. you must be a little rebel and also you must have already followed your rebellion a little in order to get the film.
the boy will also get a full image of his master by the end of the film, a master with many weaknesses, except his talent and spiritual endurance.
the ending has a very special atmosphere. it is a sentimental ending. the dead master teaches the living one a very nice lesson, through his living wife and children. the living one gets to teach the young apprentice a lesson, although still not very explicit (there is only one glaze into the apprentice eyes). it is the first time the master is not singing for money or in order not to get killed, and it is still not for such reasons as pleasure or love. it's a very special reason, or reasons. I see it as a duty.. art becomes a duty for those who are masters. it's not just money or entertainment or ordinary love. it's a duty to God, to true love, to life and to innocence.
i really like the way characters keep to their course in this classical movie, have some kind of modesty in them and are not very informed about the future. the mother sends the boy to the troubadour master, because she knows he can teach him things she cannot. the master itself does not control the situation very well, almost dies or is in the danger to die many times and always keeps this side of him in which he himself is an appearance. The boy is the most risk assuming character, more appropriate to his age, and manages to do well in very difficult situations, like a hero, but without really knowing where he heads to. He admits that in front of a woman who asks him why he made all this long journey. He sincerely admits 'I don't know'.
the director himself portrays beautifully a lot of situations and traditions in which life or beauty surpasses logic and when he himself would admit the same thing as the boy: 'I don't know'
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