Memoria, 2021 Dirigida por Apichatpong Weerasethakul, coproducida por la colombiana Diana Bustamante.
“I’m an optimist of Cinema. I think there are positive trends happening. If you see it from a sociological perspective, I think FILM IS INEVITABLE. Structures and policies might delay national cinemas more or less in every country, but it’s clear that human evolution goes through cinema because it is the most sophisticated form of […]
Film Views: Colombian Director Victor Gaviria on his 2005 film “Sumas y Restas” (Addictions and Subtractions)
“I attracted producers by giving away the property of the film. My production company had 100%, but little by little we gave the shares away at lower prices than their value. I gave 10-15% of the film at much less. You end up giving away your work, and the grants you got, giving it to the financial co-producers at half price of the film’s value, and you give it away so you can finish it. Not to finish it would be even worse, a tragedy. The film is owned by other people now. It is not mine an
The village where Satan lives, and emerges from time to time, is fenced with broken glass. There… planes crash iron-buildings down; cannibals taste German meat; Japanese teenagers kill themselves live on the internet; North-Americans shoot each other before school proms with supermarket guns; Palestinians blow themselves up on the wealthy streets of Tel Aviv; a Colombian goes mad and takes 30 diners to hell with him years after surfing in Vietnam for Uncle Sam; Theo van Gogh’s heart stabbed
The following article is a review of the illusions, realities, and influencial formative programmes, beyond the famous Cannes red carpet. The 2004 Cannes film festival had as much politics as it did when the festival was created in 1939. Film is never what you think, even less when the president of the United States is a character in the charade that will conclude next week.
Amsterdam, Diciembre 8, 2005 Articulo para revista Cambio: “En Colombia, hablar en una plaza pública y reclamar sobre derechos sociales, es arriesgar la vida. En promedio, dos sindicalistas son asesinados cada semana. Hay grupos paramilitares asesinando aquí y allá. Colombia es un país en el que la gente vive en peligro”. Así respondió Frank Poulsen – director del documental danés Guerrilla Girl que tuvo su estreno mundial en el International Documentary Film Festival Amsterdam el
Seis amigos. Seis dementes. Cinco jóvenes. 6 personajes. Una película de carretera. Más allá de lo que diga la taquilla ignorante, el tiempo hará deApocalipsur un clásico del cine Colombiano. Y con algo de suerte, y de marketing, una referencia clave, cinematográfica e histórica, de Colombia para el Mundo.
Un texto de Luis Ospina Luis Ospina, el “Director de Cine Colombiano” – combinación de oficio, sector y geografía que inevitablemente implica placer y dolor – realiza en este texto un recorrido histórico a través de los persistentes intentos cinematográficos que nacieron, se hicieron luz, y murieron, durante el siglo veinte en Colombia. “Las Películas” que constituyen “el Cine” del país, un Cine que ahora, con el cambio de siglo, sueña un porvenir más prometedor.
In Colombia you can buy fresh fruit juice from a hand-made kiosk in the middle of the road between two towns. The big cities are chaotic and energetic, and immense green mountains are shadowed against direct sunsets. Then there’s the way the nation dances, and the grinding daily struggle of the many for the pleasure of the few. Colombia is a country of strong contrasts, and none of its contrasts is more marked than that between everyday people and those who are involved in the country’s most