Director
From the very beginning, Simón Velez’s film instils a sense of dramatic tension: moving from a sudden crescendo and the grainy sounds of nervous electro noise to a bucolic archery scene between two men, and the texture of analogue film.
Co-Producer
Pinky está huyendo. Por la noche, las calles vacías huelen a apocalipsis y la ciudad parece estar en llamas. Los narcóticos se arremolinan por las venas y el aire. Habiéndose liberado de las garras de una secta liderada por un cierto “padre” y decidido a tomar su destino en sus propias manos, ahora se encuentra encerrado en una fábrica ilegal de camisetas, rodeado de pinturas, consignas y prensas térmicas. Pinky busca la luz al final del túnel, pero los fantasmas le bajan por el cuello. Está corriendo por su vida y Colombia está en llamas. Pero Colombia está viva.
Production Design
On 6 March 1906, four men were executed for the attempted murder of Colombian president Rafael Reyes. The event was photographed, and the photos were later used for a fictionalised film on the failed coup. From then on, cinema in this South American country has been inextricably linked to its violent history. Moving images have been used for historiography, propaganda, disinformation and to instil unity in a nation that refuses to come together. Falsos positivos, murdered youths disguised as guerrillas by the army to simulate military success, are a common element.
Director
After jumping from a bridge, William steals a motorcycle to take his girlfriend for a ride.
