Carlos Eduardo Quebrada Vásquez

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.

El deambular de un gato entre pastizales, las chispas que emergen de las brasas enrojecidas de una fogata, un hombre que se pasea a la sombra de altos árboles en medio de un bosque, un incendio a lo lejos, la silueta fantasmagórica de bomberos en la noche: esas son algunas de las postales mínimas que conforman la enorme belleza de la sierra de Manantiales, en las afueras de Córdoba.

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.

It's the beginning of spring. Federico travels for 20 days from Bogota, Colombia, to Buenos Aires, Argentine. In Buenos Aires he meets a couple of friends that introduce him to Florencia, a girl that makes him doubt his return.

UNA COPRODUCCIÓN COLOMBIANO-ARGENTINA DIRIGIDA POR JUAN SEBASTIÁN QUEBRADA, INCLUIDA EN LA COMPETENCIA INTERNACIONAL DEL BUENOS AIRES FESTIVAL INTERNACIONAL DE CINE INDEPENDIENTE (BAFICI).