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.

A cat wandering among the pastures, the sparks that emerge among the red embers of a fire, a man walking under the shadow of high trees in the middle of a forest, a distant fire, the ghostly figure of firemen at night: these are some of the minimal postcards that make up the enormous beauty of the Manantiales mountains, in the outskirts of Córdoba, Argentina.

Em 1906, quatro homens foram executados por tentativa de homicídio do presidente da Colômbia. Anos depois, o diretor Federico Atehortúa Arteaga descobre a estranha e improvável relação entre o homicídio fracassado, a mãe dele e as origens do cinema colombiano: uma longa história de violência.

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.

Two young Colombians, Luna y Juan, live in the suburbs of a Buenos Aires without Argentines. Their relationship oscillates between tender gestures and violent explosions. Everything between them gradually gets more intense: their games, fights, recklessness and even their monotony. But something changes when Federica shows up that sets into crisis the fragile nature of their relationship, unveiling the decadence they have gotten themselves into.