Juan Sebastián Mora Baquero

A filmmaker investigates three cases of violence in Colombia, including a murder occurring near his mother’s home. The narrative follows his attempts to reconstruct these lost lives through archival research and the physical traces left in the landscape. This personal inquiry expands into a broader study of how a nation tracks its missing citizens, eventually mapping the overlap between individual family grief and official state processes of forensic recovery.

Mudos testigos is a cinematographic collage made from all the surviving material of Colombian silent films, re-editing the images in such a way as to create a single imaginary film: the impossible love story of Efraín and Alicia that traces the convulsive first half of the twentieth century in Colombia. Compiled by the late Luis Ospina and finished posthumously by Jeronimo Atehortúa.

Like a word about to be discovered but never heard, Jeròmino Atehortùa's Una película (secreta) peels back the layers of a moving archive of silent Colombian cinema. A kind of mystery seems to live under each of the images, and as the film progresses, a secret language draws a labyrinth: each sequence is a distorted repetition of the previous one, a deformed extremity of a hidden language that unveils those drives and manias of the archive.

No synopsis available yet.

A filmmaker investigates three cases of violence in Colombia, including a murder occurring near his mother’s home. The narrative follows his attempts to reconstruct these lost lives through archival research and the physical traces left in the landscape. This personal inquiry expands into a broader study of how a nation tracks its missing citizens, eventually mapping the overlap between individual family grief and official state processes of forensic recovery.

Mudos testigos is a cinematographic collage made from all the surviving material of Colombian silent films, re-editing the images in such a way as to create a single imaginary film: the impossible love story of Efraín and Alicia that traces the convulsive first half of the twentieth century in Colombia. Compiled by the late Luis Ospina and finished posthumously by Jeronimo Atehortúa.

Like a word about to be discovered but never heard, Jeròmino Atehortùa's Una película (secreta) peels back the layers of a moving archive of silent Colombian cinema. A kind of mystery seems to live under each of the images, and as the film progresses, a secret language draws a labyrinth: each sequence is a distorted repetition of the previous one, a deformed extremity of a hidden language that unveils those drives and manias of the archive.

Like a word about to be discovered but never heard, Jeròmino Atehortùa's Una película (secreta) peels back the layers of a moving archive of silent Colombian cinema. A kind of mystery seems to live under each of the images, and as the film progresses, a secret language draws a labyrinth: each sequence is a distorted repetition of the previous one, a deformed extremity of a hidden language that unveils those drives and manias of the archive.

No synopsis available yet.