Sebastian Hernandez

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.

Rá, Culebro, Sere, Winny and Nano. Five boys who live on the streets of Medellín. Five kings with no kingdom, no law, no family, set out on a journey in search of the promised land. A subversive tale told through a wild and endearing clan, somewhere between reality and delirium. A journey to nowhere, where everything happens.

제이 발빈이 그의 경력에서 가장 중요한 공연을 준비하는 과정을 보여준다. 하지만 공연이 가까워지고 정치적인 격동으로 시위대가 거리로 쏟아져 나오면서, 발빈은 조국과 팬들에 대한 책임으로 고민하게 된다.

'A Ballad for dead children' is a tribute to Andrés Caicedo and Cali and it's group, as the seed of a cinematographic phenomenon, but it goes one step further. Testimonies and fragment readings compose, together with a very powerful archive material, the story of a story that has a deep sense and cinematographic interest: the story of Andrés and his eternal fascination with horror literature and cinema b, the of the boy who was born to write, that of the young man who decided to mock death by planning his own ending. A film that tries to maintain the difficult balance on the fine line that separates and unites the two: man and work, work and man, in an eternal and indissoluble way.

'A Ballad for dead children' is a tribute to Andrés Caicedo and Cali and it's group, as the seed of a cinematographic phenomenon, but it goes one step further. Testimonies and fragment readings compose, together with a very powerful archive material, the story of a story that has a deep sense and cinematographic interest: the story of Andrés and his eternal fascination with horror literature and cinema b, the of the boy who was born to write, that of the young man who decided to mock death by planning his own ending. A film that tries to maintain the difficult balance on the fine line that separates and unites the two: man and work, work and man, in an eternal and indissoluble way.

거리의 부랑아라고 얕보지 마라. 이래 봬도 업계의 샛별들이다. 야심찬 비행 청소년 삼인방에게 사기와 속임수의 일인자가 전수한다. 절대 실패하지 않는 소매치기 비법!

A fiery young couple may be as hot for each other as they are ill-suited. An astute look at the stormy passions and knotty intensity that make some relationships alluring to the point of being unbearable.

After accidentally killing a bearded goat with their father’s pick-up truck, two incompatible siblings in their teenage years, embark on a journey of reconciliation.

Two filmmakers from different countries explore the memories of their mothers, to create a narrative fiction concerning the recovery of life.

After time, what remains in the journey of a relationship that is on its way to its end? A final conversation will always be missing while crossing the tunnel before reaching the end.

From the land of narco-violence to the land of displaced persons. The documentary Guerras Ajenas ('Wars of Others') explores the consequences of the war on drugs in Colombia, and one of its main tools: aerial spraying.

Composed by six films about the Amazon rain forest and its inhabitants, the high stakes, and the challenges they face. Each film presents a different perspective on a specific aspect of Amazonian culture.

When 7-year-old Jocelyn Shaker is mysteriously abducted from a resort in the Colombian rainforest, her rich Columbian stepfather and American mother are accused of being involved.

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.

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.

The air is thick with tension as a military squad proceeds to the foot of a mountain base, where they're ordered to wait for backup and hold their position. The mountain is shrouded in fog and the men are exhausted. They've been fighting guerrillas on enemy turf for some time, and they're worn down by the stress and anxiety of battle. The men don't want to wait; they want to charge up the hill, fearing that their comrades in the base have been overrun by the guerrillas. The squad's leader tries futilely to keep his men in line while dealing with his insolent second-in-command.

What happened to painter Beatriz González, who made us laugh with the irony of her works, to get to the point of making a self-portrait that shows her crying naked? The path of the artist is intimately linked with the history of Colombia during the past fifty years.

Taxi driver Jorge begins his night shift bent on revenge after his brother's murder at the hands of a violent gang. But when an accident brings him unexpectedly closer to his party-girl fare Angela, the damaged pair must struggle against forces already set in motion, drawing them inexorably into the rain soaked underworld of Bogota

Vicente is an old rooster who has a good chicken in the red, and the plant to play, but his rival, the only one who stands in the way of silver, is Ricardo, his own 18 year old son. Ricardo, tired of the life he has led with his father, has everything arranged to win. The old man's life is on hold.