Diana Bustamante

A dramatized account of Colombia's 1985 Palace of Justice siege combines fictional elements with historical footage, exploring themes of belief, turmoil, and lasting national trauma.

After hearing a loud 'bang' at daybreak, a Scottish woman begins experiencing a mysterious sensory syndrome while traversing the jungles of Colombia.

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.

Strange images overlap like floating ghosts: a dead body, a singer, an audience. The film shows, paradoxically and theatrically, how death inhabits the León de Greiff Auditorium in Colombia.

Jenjira, a Thai widow, travels to the ancient Buddhist temple Sigiriya in Sri Lanka to scatter her husband’s ashes. As her visions blur time and space, she is swept into a journey through across dimensions.

Alfonso is an old farmer who has returned home to tend to his son, who is gravely ill. He rediscovers his old house, where the woman who was once his wife still lives, with his daughter-in-law and grandson. The landscape that awaits him resembles a wasteland. Vast sugar cane plantations surround the house, producing perpetual clouds of ash. 17 years after abandoning them, Alfonso tries to fit back in and save his family.

A dramatized account of Colombia's 1985 Palace of Justice siege combines fictional elements with historical footage, exploring themes of belief, turmoil, and lasting national trauma.

After hearing a loud 'bang' at daybreak, a Scottish woman begins experiencing a mysterious sensory syndrome while traversing the jungles of Colombia.

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.

Strange images overlap like floating ghosts: a dead body, a singer, an audience. The film shows, paradoxically and theatrically, how death inhabits the León de Greiff Auditorium in Colombia.

Strange images overlap like floating ghosts: a dead body, a singer, an audience. The film shows, paradoxically and theatrically, how death inhabits the León de Greiff Auditorium in Colombia.

Jenjira, a Thai widow, travels to the ancient Buddhist temple Sigiriya in Sri Lanka to scatter her husband’s ashes. As her visions blur time and space, she is swept into a journey through across dimensions.

Alfonso is an old farmer who has returned home to tend to his son, who is gravely ill. He rediscovers his old house, where the woman who was once his wife still lives, with his daughter-in-law and grandson. The landscape that awaits him resembles a wasteland. Vast sugar cane plantations surround the house, producing perpetual clouds of ash. 17 years after abandoning them, Alfonso tries to fit back in and save his family.

Drifting between moving-image formats and collaging local textures and bygone voices, Oscar Ruiz Navia’s film reflects on loss and mourning as experiences of temporal dislocation.

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.

No synopsis available yet.

No synopsis available yet.

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 Mexican movie director travels the world as a vampire, getting blood from wherever he can at local film festivals.

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.

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.

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.