Eduardo Carvajal

Two filmmakers travel around impoverished sectors of the cities of Bogotá and Cali in search of the images of abjection needed to complete a documentary commissioned by German TV. Meanwhile, another camera captures these “vampire” filmmakers feeding off the misery of their marginal subjects.

World-weary author Fernando has returned to his native Colombia to live out his days in peace. But Fernando's once-quiet hometown has become a hotbed of violence, drugs, and corruption. On the brink of despair, Fernando meets Alexis, a beautiful but hardened street kid who lives by the rule of the gun. Together, they forge an unlikely relationship.

In this silent style short, filmed in black and white with intertitles instead of spoken dialog, a precocious little girl surrounded by Tv violence and bloody church images of Catholicism, yearns to stay alive forever, as a vampire.

'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.

Colombia receives the indemnity for Panama and accepts foreign credit to undertake development works, which increases the number of workers, although with poor wages and terrible working conditions. María Cano, a political activist, began her fight for the conditions of salaried workers and for the fundamental rights of the population.