Diana Bustamante

An extraordinary and necessary essay film constructed entirely out of a vast archive of news footage from the ‘80s and ‘90s, OUR MOVIE (NUESTRA PELICULA) is a response to the violent history that imprinted itself on the director in her formative years in Colombia. Images of blood spatters, bullet holes, coffins, and Colombians marching in the streets become an abstract net of quotidian sorrow.

어느 고요한 새벽, 알 수 없는 쿵 소리에 제시카는 잠에서 깬다. 낯설기도 익숙하기도 한 이 소리는 그녀의 삶을 깊이 파고든다 소리의 근원을 찾기 위해 여정을 떠난 제시카는 잔잔히 흐르는 계곡과 나뭇잎을 스치는 바람 소리로 가득한 숲속에서 모든 것을 기억하는 한 남자 에르난을 만난다.

Marcos, a withdrawn park ranger, sees the fragile balance achieved in his isolation collapse with the arrival of a couple of biologists investigating strange bird deaths. Unfortunately, the desire and envy for normality represented by the couple awaken the monster he has been trying to control. His face, his legs, and his arms don’t belong to him and as the desperation becomes incontrollable, he can only see one way out: mutilation.

알폰소는 죽어가는 아들을 돌보기 위해 전처와 며느리, 손자가 함께 사는 옛집으로 돌아온다. 재가 대지를 뒤덮는 사탕수수 마을에서 알폰소는 버렸던 가족을 챙기지만, 상황은 나아질 기미가 보이지 않는다. 유려하고 치밀한 촬영과 단순하지만 힘 있는 스토리가 돋보인다. (2015년 제20회 부산국제영화제)

A man in chains, a young man who dreams of being part of something, to become a militant for an armed group who must wield a cruelty in which he may not believe in. The characters, each voluntary or involuntary part of a mechanism that overcomes them, reveal their greatness or misery in the “minimum” tasks that they perform to survive. From that sometimes morbid poetry of the everyday and the irrefutable truth of the details, we see a country whose social body is sick and injured.

A man in chains, a young man who dreams of being part of something, to become a militant for an armed group who must wield a cruelty in which he may not believe in. The characters, each voluntary or involuntary part of a mechanism that overcomes them, reveal their greatness or misery in the “minimum” tasks that they perform to survive. From that sometimes morbid poetry of the everyday and the irrefutable truth of the details, we see a country whose social body is sick and injured.

Ras is a graffiti artist from the city of Cali who works in construction, he works during the day and paints walls at night. One day he is caught stealing cans of paint from the construction site where he works, for which he is fired. With no money, he will look for Calvin, another popular urban artist. Both will circulate through the streets without a fixed destination, spreading their art to every corner.

Salvador is a peasant who one day wakes up as usual to work on his land but instead finds a pile of corpses in the middle of his crops. He runs to notify the authorities but is Sunday and Election Day so the dead ones end up being a nuisance that nobody wants to deal with.

After his wife's death, a vallenato singer from Majagual, Sucre, decides to quit music and return his allegedly cursed accordion to his master. He is joined by Fermín Morales, a teenage boy who admires him and wishes to follow his footsteps. Together, they start a journey throughout several towns in Northern Colombia to Taroa, in La Guajira desert, where the singer's master supposedly lives.