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[2] => Colombian Representation at Cannes
[noticia] => Colombian Representation at Cannes
[3] => Colombia had a strong presence at the 76th edition of the Cannes Festival with two notable entries. The animated short film La perra (The dog), directed by Carla Melo, competed in the Official Competition, while the restored version of Amor, mujeres y flores,(Love, Women, and Flowers) by Marta Rodríguez and Jorge Silva, was featured in Cannes Classics. Proimágenes Colombia accompanied the Colombian delegation, and the Colombian stand received the Coup de Cur Award at the third edition of the Pavilion Design Award in the Marché du Film.
[abstract] => Colombia had a strong presence at the 76th edition of the Cannes Festival with two notable entries. The animated short film La perra (The dog), directed by Carla Melo, competed in the Official Competition, while the restored version of Amor, mujeres y flores,(Love, Women, and Flowers) by Marta Rodríguez and Jorge Silva, was featured in Cannes Classics. Proimágenes Colombia accompanied the Colombian delegation, and the Colombian stand received the Coup de Cur Award at the third edition of the Pavilion Design Award in the Marché du Film.
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In co-production with Arte France, La perra is brought to life by Evidencia Films and June Films. The talented team behind the film includes Andrea Muñoz for animation and inking, Julián Arias, Gabriela Otálora, Sergio Román, and Paola Cuéllar for color and inking, Santiago Guevara and Pablo Quiroga for artistic research, Juan Camilo Fonnegra for compositing, Juan Sebastián Quebrada for editing, Juan Andrés Urueña for assistant directing, Juan Camilo González González for assistant directing, and Ana Winograd for production direction, among others.
Out of 4,288 films, the short film was selected as one of the 11 short films competing for the prestigious Golden Palm for Best Short Film, a coveted symbol of the festival awarded to the finest films in various categories of the Official Competition. Colombia only achieved this honor once with the short film Leidi by Simón Mesa Soto in 2014.
La perra received support from the Fondo para el Desarrollo Cinematográfico - FDC in the Short Filmmaking category. It also obtained the Animation Short Film Creation Grant from the Instituto Distrital de las Artes - Idartes and the Aide avant réalisation from the Centre national du cinéma et de l'image animée (CNC) of France.
Cannes Classics, a section within the Official Selection dedicated to tributes, restorations, and special screenings, showcased the restored version of the 1989 documentary Amor¸ mujeres y flores, directed by Marta Rodríguez and Jorge Silva. This section is divided into two categories: Tribute, which focuses on films and film personalities, and Restorations, which presents restored copies of documentaries and films from the international film heritage. The Colombian film was featured under the Restorations category.
During the 1980s, Colombia's flower farming industry experienced significant growth and gained international recognition. However, the reality was far from ideal behind the facade of abundance. The documentary sheds light on the use of pesticides in the flower fields of the Colombian savannah, as well as the working conditions faced by the predominantly female workforce. With an anthropological approach, the film captures the workers' testimonies over five years and depicts their daily lives. It is a pioneering film exploring emancipation, dignity, and environmental activism.
The film underwent a restoration and digitization process following the production style of the New Latin American Cinema. This low-budget approach finds its strength in solidarity and dedication despite economic challenges. Through a cultural exchange with the National Cinematheque of Ecuador, the film was digitized in 2K format. In 2022, Felipe Colmenares handled the restoration process in 16mm, including image and color restoration.
Notably, the film garnered several awards, including the Special Jury Mention at the Aurillac International Film Festival in France, the Golden Gate Award and Honorable Mention in Sociology at the 33rd San Francisco International Film Festival, and a Jury Mention at the Sundance Film Festival in the USA. It also received the Award for Documentary Showing the Problems of the Working Class at the Manhein Festival in Germany, the Ecology Award at the Okomedia International Ecology Festival in Freiburg, Germany, and the Ecological Documentary Award at the Festival de Cine por la Vida, la Paz y la Ecología in Bogota.
The world premiere of this restored version took place on Sunday, May 21, at the Buñuel Theater. Following the screening, a thought-provoking discussion on the role of women in the working world, particularly in the film industry, unfolded with the participation of feminist organizations Collectif 50/50 and Femmes à la caméra.
Colombia's stand at the Marché du Film (132, Village International) received the Coup de Cœur award in the third edition of the Pavilion Design Award. The award recognized the user experience generated in promoting the country and the design of the space to connect with the world. The jury for this year's award included Iris Knobloch, president of the Cannes Film Festival; Rita Goegebeur, training director of Flanders Image; Marilyne Letertre, a journalist at Madame Figaro; and Rosalie Varda, CEO of Ciné-Tamaris.
Colombia's stand served as a vital point of connection with industry professionals from all over the world who attended the festival for business purposes. It was also the meeting place for all the national representatives who participated in the event. The stand allowed Colombian authorities to meet with counterparts from other countries, including Brazil and Italy, to establish long-term co-production relationships that would benefit Colombian productions. Additionally, a Colombian-French co-production guide, developed by master's degree students from the Université Paul Valéry de Montpelier, was presented at the event, enabling French and international professionals to get a comprehensive understanding of Colombia's film and audiovisual panorama.
[contenido] =>
In co-production with Arte France, La perra is brought to life by Evidencia Films and June Films. The talented team behind the film includes Andrea Muñoz for animation and inking, Julián Arias, Gabriela Otálora, Sergio Román, and Paola Cuéllar for color and inking, Santiago Guevara and Pablo Quiroga for artistic research, Juan Camilo Fonnegra for compositing, Juan Sebastián Quebrada for editing, Juan Andrés Urueña for assistant directing, Juan Camilo González González for assistant directing, and Ana Winograd for production direction, among others.
Out of 4,288 films, the short film was selected as one of the 11 short films competing for the prestigious Golden Palm for Best Short Film, a coveted symbol of the festival awarded to the finest films in various categories of the Official Competition. Colombia only achieved this honor once with the short film Leidi by Simón Mesa Soto in 2014.
La perra received support from the Fondo para el Desarrollo Cinematográfico - FDC in the Short Filmmaking category. It also obtained the Animation Short Film Creation Grant from the Instituto Distrital de las Artes - Idartes and the Aide avant réalisation from the Centre national du cinéma et de l'image animée (CNC) of France.
Cannes Classics, a section within the Official Selection dedicated to tributes, restorations, and special screenings, showcased the restored version of the 1989 documentary Amor¸ mujeres y flores, directed by Marta Rodríguez and Jorge Silva. This section is divided into two categories: Tribute, which focuses on films and film personalities, and Restorations, which presents restored copies of documentaries and films from the international film heritage. The Colombian film was featured under the Restorations category.
During the 1980s, Colombia's flower farming industry experienced significant growth and gained international recognition. However, the reality was far from ideal behind the facade of abundance. The documentary sheds light on the use of pesticides in the flower fields of the Colombian savannah, as well as the working conditions faced by the predominantly female workforce. With an anthropological approach, the film captures the workers' testimonies over five years and depicts their daily lives. It is a pioneering film exploring emancipation, dignity, and environmental activism.
The film underwent a restoration and digitization process following the production style of the New Latin American Cinema. This low-budget approach finds its strength in solidarity and dedication despite economic challenges. Through a cultural exchange with the National Cinematheque of Ecuador, the film was digitized in 2K format. In 2022, Felipe Colmenares handled the restoration process in 16mm, including image and color restoration.
Notably, the film garnered several awards, including the Special Jury Mention at the Aurillac International Film Festival in France, the Golden Gate Award and Honorable Mention in Sociology at the 33rd San Francisco International Film Festival, and a Jury Mention at the Sundance Film Festival in the USA. It also received the Award for Documentary Showing the Problems of the Working Class at the Manhein Festival in Germany, the Ecology Award at the Okomedia International Ecology Festival in Freiburg, Germany, and the Ecological Documentary Award at the Festival de Cine por la Vida, la Paz y la Ecología in Bogota.
The world premiere of this restored version took place on Sunday, May 21, at the Buñuel Theater. Following the screening, a thought-provoking discussion on the role of women in the working world, particularly in the film industry, unfolded with the participation of feminist organizations Collectif 50/50 and Femmes à la caméra.
Colombia's stand at the Marché du Film (132, Village International) received the Coup de Cœur award in the third edition of the Pavilion Design Award. The award recognized the user experience generated in promoting the country and the design of the space to connect with the world. The jury for this year's award included Iris Knobloch, president of the Cannes Film Festival; Rita Goegebeur, training director of Flanders Image; Marilyne Letertre, a journalist at Madame Figaro; and Rosalie Varda, CEO of Ciné-Tamaris.
Colombia's stand served as a vital point of connection with industry professionals from all over the world who attended the festival for business purposes. It was also the meeting place for all the national representatives who participated in the event. The stand allowed Colombian authorities to meet with counterparts from other countries, including Brazil and Italy, to establish long-term co-production relationships that would benefit Colombian productions. Additionally, a Colombian-French co-production guide, developed by master's degree students from the Université Paul Valéry de Montpelier, was presented at the event, enabling French and international professionals to get a comprehensive understanding of Colombia's film and audiovisual panorama.
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[10] => Film attendance in Colombia during the first five months of the year: 25 Colombian films released, 10 documentaries and 15 fiction films, of which 5 were in May, month in which another 12 national titles released in previous months were screened.
[contenido] => Film attendance in Colombia during the first five months of the year: 25 Colombian films released, 10 documentaries and 15 fiction films, of which 5 were in May, month in which another 12 national titles released in previous months were screened.
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[2] => Celebrating 25 Years of strengthening the Colombian audiovisual sector
[noticia] => Celebrating 25 Years of strengthening the Colombian audiovisual sector
[3] => Proimágenes Colombia has reached a significant milestone, celebrating a quarter of a century as the central hub of the Colombian audiovisual ecosystem and a leading force in international promotion.
[abstract] => Proimágenes Colombia has reached a significant milestone, celebrating a quarter of a century as the central hub of the Colombian audiovisual ecosystem and a leading force in international promotion.
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Established on April 23, 1998, as a non-profit organization with mixed participation, the Fondo Mixto de Promoción Cinematográfica - Proimágenes Colombia has focused on strengthening the Colombian audiovisual sector. Its unique ability to bring together public and private efforts in designing and implementing evolving public policies and support mechanisms, has been its greatest asset. By involving the entire value chain, Proimágenes Colombia empowers the audiovisual sector to drive cultural and economic development across the country.
Over the course of these 25 years, Proimágenes Colombia has become the best ally of the Colombian audiovisual industry. It serves as a welcoming space for all stakeholders, providing support, guidance, and training to the sector. Through constant adaptation and the creation of diverse activities, Proimágenes Colombia strives for better outcomes and a broader reach, both within different regions of the country and on the international stage.
Their dedicated efforts have led to enacting two laws that have revolutionized audiovisual production in Colombia. The "Film Law" (Law 814) promotes national-level project development, while the "Colombia Filming Law" (Law 1556) incentivizes filming within the country by offering tax benefits. This legislation, originally focused on cinematographic works, is now expanding to encompass other audiovisual formats, further establishing Colombia as a prime destination for production.
Proimágenes is the foundation for the Colombia Film Commission, the pioneering initiative to support the internationalization of Colombian cinema. Like film commissions worldwide, it promotes sector development by promoting the incentives to attract productions to Colombian territory. It assists with permits, customs processes, and valuable information on infrastructure, personnel, and costs. Today, its primary focus lies in leveraging the incentives of Law 1556 (FFC and CINA).
The Promotion Department of Proimágenes Colombia plays a vital role in complementing this work. It implements a strategic approach to enhance the visibility of content, talent, companies, and incentives. It aims to strengthen existing relationships and forge new connections with national and international agents for promotional purposes. Proimágenes Colombia actively participates in various international festivals and markets throughout the year, supporting Colombian films and accompanying talented individuals. These efforts extend support to talents in these spaces and involve managing invitations and guiding international guests, including sales agents, festival programmers, and interested entrepreneurs seeking insights into the Colombian ecosystem. The department also directs national co-production meetings and networking events like the Bogota Audiovisual Market - BAM and Encuentros. Additionally, it designs catalogs to showcase productions and talents at different markets, such as Refresh, the catalog for Colombian short films.
In its 25-year journey, Proimágenes Colombia, led by director general Claudia Triana de Vargas, received the prestigious Civil Order of Merit José Acevedo y Gómez, with the rank of Grand Cross, from the esteemed City Council of Bogota. This honor acknowledges the organization's remarkable efforts in promoting culture through audiovisuals and elevating Bogota's position on the global film stage. Councilman Nelson Cubides, the driving force behind this recognition, stated, "Proimágenes has nurtured a film culture that has strengthened our country and city. Today, we witness a robust audiovisual sector that profoundly impacts society through art. Over the past three years, this corporation has played a pivotal role in Colombia's premier audiovisual market, fostering visibility for industry professionals, facilitating knowledge exchange on sector trends, fostering networking opportunities, and facilitating business ventures."
The Civil Order of Merit José Acevedo y Gómez, awarded in various degrees, including Silver Cross, Gold Cross, and Grand Cross, honors citizens who have made distinguished contributions to the city and possess recognized importance. Since Proimágenes Colombia's inception in 1998, Claudia Triana has been at the helm, leading a dedicated team of professionals who have played a pivotal role in the conceptual, philosophical, and technical development of policies and mechanisms that have garnered international acclaim for the Colombian audiovisual industry.
Proimágenes Colombia received this recognition following its 25th-anniversary commemoration at the Bogotá International Book Fair (FILBo). The event showcased the launch of the book Cinematografía en Colombia, tras las huellas de una industria (Cinematography in Colombia, in the footsteps of an industry) by Gonzalo Castellanos V., published in collaboration with Ícono Editorial and featuring a prologue written by director Laura Mora (Los reyes del mundo). This comprehensive publication explores the significance of film and audiovisuals as a social phenomenon, a tool for coexistence, and an alternative to the long-standing national conflict. It also delves into the economic aspects, policies, outcomes, the evolving landscape of the "global screen," and the potential for Colombia to emerge as a major hub for audiovisual production.
The achievements and progress of Proimágenes Colombia are a testament to the invaluable support from its board of directors, which includes partners such as the Ministry of Culture, including its Direction of Audiovisual, Film, and Interactive Media (previously known as the Direction of Cinematography), the Ministry of Information Technology and Communications, the Ministry of Education, the Direction of National Taxes and Customs - DIAN, the National University of Colombia, Cine Colombia, the Colombian Association of Film Distributors, the Colombian Film Heritage Foundation, as well as representatives from the country's production and filmmaking sectors.
[contenido] =>
Established on April 23, 1998, as a non-profit organization with mixed participation, the Fondo Mixto de Promoción Cinematográfica - Proimágenes Colombia has focused on strengthening the Colombian audiovisual sector. Its unique ability to bring together public and private efforts in designing and implementing evolving public policies and support mechanisms, has been its greatest asset. By involving the entire value chain, Proimágenes Colombia empowers the audiovisual sector to drive cultural and economic development across the country.
Over the course of these 25 years, Proimágenes Colombia has become the best ally of the Colombian audiovisual industry. It serves as a welcoming space for all stakeholders, providing support, guidance, and training to the sector. Through constant adaptation and the creation of diverse activities, Proimágenes Colombia strives for better outcomes and a broader reach, both within different regions of the country and on the international stage.
Their dedicated efforts have led to enacting two laws that have revolutionized audiovisual production in Colombia. The "Film Law" (Law 814) promotes national-level project development, while the "Colombia Filming Law" (Law 1556) incentivizes filming within the country by offering tax benefits. This legislation, originally focused on cinematographic works, is now expanding to encompass other audiovisual formats, further establishing Colombia as a prime destination for production.
Proimágenes is the foundation for the Colombia Film Commission, the pioneering initiative to support the internationalization of Colombian cinema. Like film commissions worldwide, it promotes sector development by promoting the incentives to attract productions to Colombian territory. It assists with permits, customs processes, and valuable information on infrastructure, personnel, and costs. Today, its primary focus lies in leveraging the incentives of Law 1556 (FFC and CINA).
The Promotion Department of Proimágenes Colombia plays a vital role in complementing this work. It implements a strategic approach to enhance the visibility of content, talent, companies, and incentives. It aims to strengthen existing relationships and forge new connections with national and international agents for promotional purposes. Proimágenes Colombia actively participates in various international festivals and markets throughout the year, supporting Colombian films and accompanying talented individuals. These efforts extend support to talents in these spaces and involve managing invitations and guiding international guests, including sales agents, festival programmers, and interested entrepreneurs seeking insights into the Colombian ecosystem. The department also directs national co-production meetings and networking events like the Bogota Audiovisual Market - BAM and Encuentros. Additionally, it designs catalogs to showcase productions and talents at different markets, such as Refresh, the catalog for Colombian short films.
In its 25-year journey, Proimágenes Colombia, led by director general Claudia Triana de Vargas, received the prestigious Civil Order of Merit José Acevedo y Gómez, with the rank of Grand Cross, from the esteemed City Council of Bogota. This honor acknowledges the organization's remarkable efforts in promoting culture through audiovisuals and elevating Bogota's position on the global film stage. Councilman Nelson Cubides, the driving force behind this recognition, stated, "Proimágenes has nurtured a film culture that has strengthened our country and city. Today, we witness a robust audiovisual sector that profoundly impacts society through art. Over the past three years, this corporation has played a pivotal role in Colombia's premier audiovisual market, fostering visibility for industry professionals, facilitating knowledge exchange on sector trends, fostering networking opportunities, and facilitating business ventures."
The Civil Order of Merit José Acevedo y Gómez, awarded in various degrees, including Silver Cross, Gold Cross, and Grand Cross, honors citizens who have made distinguished contributions to the city and possess recognized importance. Since Proimágenes Colombia's inception in 1998, Claudia Triana has been at the helm, leading a dedicated team of professionals who have played a pivotal role in the conceptual, philosophical, and technical development of policies and mechanisms that have garnered international acclaim for the Colombian audiovisual industry.
Proimágenes Colombia received this recognition following its 25th-anniversary commemoration at the Bogotá International Book Fair (FILBo). The event showcased the launch of the book Cinematografía en Colombia, tras las huellas de una industria (Cinematography in Colombia, in the footsteps of an industry) by Gonzalo Castellanos V., published in collaboration with Ícono Editorial and featuring a prologue written by director Laura Mora (Los reyes del mundo). This comprehensive publication explores the significance of film and audiovisuals as a social phenomenon, a tool for coexistence, and an alternative to the long-standing national conflict. It also delves into the economic aspects, policies, outcomes, the evolving landscape of the "global screen," and the potential for Colombia to emerge as a major hub for audiovisual production.
The achievements and progress of Proimágenes Colombia are a testament to the invaluable support from its board of directors, which includes partners such as the Ministry of Culture, including its Direction of Audiovisual, Film, and Interactive Media (previously known as the Direction of Cinematography), the Ministry of Information Technology and Communications, the Ministry of Education, the Direction of National Taxes and Customs - DIAN, the National University of Colombia, Cine Colombia, the Colombian Association of Film Distributors, the Colombian Film Heritage Foundation, as well as representatives from the country's production and filmmaking sectors.
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[2] => Pálpito Tops Netflix Charts
[noticia] => Pálpito Tops Netflix Charts
[3] => After its first week of release, the second season of the CINA beneficiary series, Pálpito (The Marked Heart), claimed the number one spot as the most-watched non-English series on Netflix, with over 52 million hours of playback.
[abstract] => After its first week of release, the second season of the CINA beneficiary series, Pálpito (The Marked Heart), claimed the number one spot as the most-watched non-English series on Netflix, with over 52 million hours of playback.
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Pálpito follows the gripping story of a man who will go to any lengths to save his wife's life. She falls victim to an organ trafficking gang linked to the highest levels of power. During the first week of its second season's launch (April 17 to 23), the series garnered an impressive 52 million hours of views, solidifying its position as the most-watched non-English series on the streaming platform.
Additionally, according to Semana Magazine, the first season of Pálpito, which premiered on April 20, 2022, enjoyed a resurgence in popularity. With over 60 million viewers worldwide, it returned to the Global Top 10, securing the third position with over 26 million hours watched. Pálpito 2's global success reached an astonishing 64 countries, including Poland, Portugal, Spain, and Malta, among others, where it claimed the top spot.
The series, produced by Clara María Ochoa and Ana Piñeres from CMO Producciones for Netflix and created by Venezuelan Leonardo Padrón, was directed by Camilo Vega, Ruth Caudeli, and Rodrigo Triana. The talented team of screenwriters included Leonardo Padrón, Dorís Seguí, Christian Jiménez, and Carlos Castro. Executive producers Clara María Ochoa, Ana Piñeres, and Leonardo Padrón were also involved, along with directors of photography Diego Jiménez and Alfonso Parra, production designer Diana Trujillo, art director Tatiana Dulcey, editor Luis Patiño, and composer José Reinoso, among others. The cast features Ana Lucía Domínguez, Michel Brown, Sebastián Martínez, Margarita Muñoz, Moisés Arismendi, Valeria Emiliani, Julián Cerati, Juan Fernando Sánchez, Mauricio Cujar, and Jacqueline Arenal.
"Pálpito once again demonstrates that Latin American content can reach audiences worldwide. These projects have their unique identity while being universally relatable, showcasing a wealth of local talent both in front of and behind the camera. They are stories that deeply resonate with viewers, revealing the world in a profound way," Padrón shared with Deadline.
The two-season production, consisting of 24 episodes, received the Certificate of Audiovisual Investment - CINA, which encompasses various forms of audiovisual content such as films, TV series, music videos, video games, animation, and audiovisual advertising produced by foreign companies in Colombia. The purpose of CINA is to promote Colombia as a prime destination for audiovisual production by providing a tax discount of 35% on expenses related to audiovisual and logistical services incurred by foreign production companies within the country. The projected investment in Colombia from all CINA-approved projects from 2020 to 2022 amounts to 1.7 trillion pesos. This not only contributes to job opportunities in the audiovisual industry but also extends to sectors like transportation and tourism, benefiting the Colombian workforce.
[contenido] =>
Pálpito follows the gripping story of a man who will go to any lengths to save his wife's life. She falls victim to an organ trafficking gang linked to the highest levels of power. During the first week of its second season's launch (April 17 to 23), the series garnered an impressive 52 million hours of views, solidifying its position as the most-watched non-English series on the streaming platform.
Additionally, according to Semana Magazine, the first season of Pálpito, which premiered on April 20, 2022, enjoyed a resurgence in popularity. With over 60 million viewers worldwide, it returned to the Global Top 10, securing the third position with over 26 million hours watched. Pálpito 2's global success reached an astonishing 64 countries, including Poland, Portugal, Spain, and Malta, among others, where it claimed the top spot.
The series, produced by Clara María Ochoa and Ana Piñeres from CMO Producciones for Netflix and created by Venezuelan Leonardo Padrón, was directed by Camilo Vega, Ruth Caudeli, and Rodrigo Triana. The talented team of screenwriters included Leonardo Padrón, Dorís Seguí, Christian Jiménez, and Carlos Castro. Executive producers Clara María Ochoa, Ana Piñeres, and Leonardo Padrón were also involved, along with directors of photography Diego Jiménez and Alfonso Parra, production designer Diana Trujillo, art director Tatiana Dulcey, editor Luis Patiño, and composer José Reinoso, among others. The cast features Ana Lucía Domínguez, Michel Brown, Sebastián Martínez, Margarita Muñoz, Moisés Arismendi, Valeria Emiliani, Julián Cerati, Juan Fernando Sánchez, Mauricio Cujar, and Jacqueline Arenal.
"Pálpito once again demonstrates that Latin American content can reach audiences worldwide. These projects have their unique identity while being universally relatable, showcasing a wealth of local talent both in front of and behind the camera. They are stories that deeply resonate with viewers, revealing the world in a profound way," Padrón shared with Deadline.
The two-season production, consisting of 24 episodes, received the Certificate of Audiovisual Investment - CINA, which encompasses various forms of audiovisual content such as films, TV series, music videos, video games, animation, and audiovisual advertising produced by foreign companies in Colombia. The purpose of CINA is to promote Colombia as a prime destination for audiovisual production by providing a tax discount of 35% on expenses related to audiovisual and logistical services incurred by foreign production companies within the country. The projected investment in Colombia from all CINA-approved projects from 2020 to 2022 amounts to 1.7 trillion pesos. This not only contributes to job opportunities in the audiovisual industry but also extends to sectors like transportation and tourism, benefiting the Colombian workforce.
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[2] => Colombia at Hot Docs and Visions du Réel
[noticia] => Colombia at Hot Docs and Visions du Réel
[3] => Four productions and four projects involving Colombian participation were showcased at these two renowned events dedicated to non-fiction cinema.
[abstract] => Four productions and four projects involving Colombian participation were showcased at these two renowned events dedicated to non-fiction cinema.
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The Hot Docs Canadian International Documentary Film Festival, established in 1993, is North America's largest documentary film festival and holds significant importance in the audiovisual industry. The 2023 edition featured three Colombian productions.
Anhell69, directed by Theo Montoya and supported by the Film Development Fund - FDC in the Documentary Feature Filmmaking category, has been described by festival organizers as a groundbreaking transgender film "with no borders and no gender". It presents a radical approach to the documentary format, serving as a visual homage to a city transformed into a cemetery—a haunting portrayal of a gay ghost town nestled in the mountains, encapsulating the fears of a generation and a nation in ruins. This feature film, which received the French Film Critics Syndicate Award at the Festival Cinélatino Rencontres de Toulouse and other accolades, was showcased in the Nightvision section of the Canadian event.
Ana Bravo Pérez's film, Órganos internos de la madre tierra (Internal Organs of Mother Earth), co-produced by herself and Joram Kraaijeveld, depicts a critical and essential battle for the preservation of land in the Wayuu territory of northern Colombia. The film portrays the relentless and profit-driven mining companies that ravage the landscape, contrasted with the resilient individuals fighting to safeguard their ancestral lands. Prior to its participation in Hot Docs, this short film was selected for the Official Selection at the International Documentary Film Festival Amsterdam (IDFA) in 2022.
Emilce Quevedo Díaz's Nosotras (We, the Women) premiered in the Persister section. The film captures three generations of women in the director's family as they gather to care for their grandmother, Sixta, who resides in a remote village in the Colombian countryside and battles a terminal illness. Sixta's tenacity and endurance shine through her frail, aging body, reflecting a life marked by pain. The film reflects on family and the bonds among women, addressing traditional gender roles, sexism, domestic violence, and the influence of religion. Produced by Susana Urrea and Emilce Quevedo, edited by Ricardo Acosta, María Alejandra Briganti, and Carlos Cordero, and colorized by Manuela Paredes, this production received two incentives from the FDC: Documentary Filmmaking (2011) and Documentary Post-production (2019).
Meanwhile, the 54th edition of the Nyon International Film Festival Visions du Réel, renowned worldwide as a premier platform for non-fiction films and a vital gathering for film professionals, took place. The festival showcases numerous world and international premieres while serving as a creative hub for industry experts. One of the highlights of this edition was the world premiere of Samuel Moreno Álvarez's documentary Rodaje (Filming) in the Burning Lights Competition section. The film documents the six-week shooting of the feature film La roya (The Rust), directed by Juan Sebastián Mesa, in southwestern Antioquia, Colombia. The documentary intertwines the director's vision and the fictional script with the region's reality, capturing space interventions, equipment and machinery arrivals, the uncertainties of preparation, and transportation challenges.
Several projects involving Colombian filmmakers were featured within Visions du Réel's industry section, VdR, which provides crucial support for films at various production stages. Felipe Monroy's Simón el absurdo (Simon the absurd, a co-production between Switzerland, Colombia, France, and Mexico) participated in the VdR-Pitching section, while Manuel Muñoz's Fusil olímpico (a co-production between Honduras, Argentina, and Colombia) was part of VdR-Development Lab. Additionally, El silencio de la montaña by Inti Jacanamijoy, produced by Jorge Forero, and XiXi by Fan Wu (a Taiwanese production with Colombian Anna Magdalena Silva Schlenker as the editor) were part of VdR-Rough Cut Lab.
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The Hot Docs Canadian International Documentary Film Festival, established in 1993, is North America's largest documentary film festival and holds significant importance in the audiovisual industry. The 2023 edition featured three Colombian productions.
Anhell69, directed by Theo Montoya and supported by the Film Development Fund - FDC in the Documentary Feature Filmmaking category, has been described by festival organizers as a groundbreaking transgender film "with no borders and no gender". It presents a radical approach to the documentary format, serving as a visual homage to a city transformed into a cemetery—a haunting portrayal of a gay ghost town nestled in the mountains, encapsulating the fears of a generation and a nation in ruins. This feature film, which received the French Film Critics Syndicate Award at the Festival Cinélatino Rencontres de Toulouse and other accolades, was showcased in the Nightvision section of the Canadian event.
Ana Bravo Pérez's film, Órganos internos de la madre tierra (Internal Organs of Mother Earth), co-produced by herself and Joram Kraaijeveld, depicts a critical and essential battle for the preservation of land in the Wayuu territory of northern Colombia. The film portrays the relentless and profit-driven mining companies that ravage the landscape, contrasted with the resilient individuals fighting to safeguard their ancestral lands. Prior to its participation in Hot Docs, this short film was selected for the Official Selection at the International Documentary Film Festival Amsterdam (IDFA) in 2022.
Emilce Quevedo Díaz's Nosotras (We, the Women) premiered in the Persister section. The film captures three generations of women in the director's family as they gather to care for their grandmother, Sixta, who resides in a remote village in the Colombian countryside and battles a terminal illness. Sixta's tenacity and endurance shine through her frail, aging body, reflecting a life marked by pain. The film reflects on family and the bonds among women, addressing traditional gender roles, sexism, domestic violence, and the influence of religion. Produced by Susana Urrea and Emilce Quevedo, edited by Ricardo Acosta, María Alejandra Briganti, and Carlos Cordero, and colorized by Manuela Paredes, this production received two incentives from the FDC: Documentary Filmmaking (2011) and Documentary Post-production (2019).
Meanwhile, the 54th edition of the Nyon International Film Festival Visions du Réel, renowned worldwide as a premier platform for non-fiction films and a vital gathering for film professionals, took place. The festival showcases numerous world and international premieres while serving as a creative hub for industry experts. One of the highlights of this edition was the world premiere of Samuel Moreno Álvarez's documentary Rodaje (Filming) in the Burning Lights Competition section. The film documents the six-week shooting of the feature film La roya (The Rust), directed by Juan Sebastián Mesa, in southwestern Antioquia, Colombia. The documentary intertwines the director's vision and the fictional script with the region's reality, capturing space interventions, equipment and machinery arrivals, the uncertainties of preparation, and transportation challenges.
Several projects involving Colombian filmmakers were featured within Visions du Réel's industry section, VdR, which provides crucial support for films at various production stages. Felipe Monroy's Simón el absurdo (Simon the absurd, a co-production between Switzerland, Colombia, France, and Mexico) participated in the VdR-Pitching section, while Manuel Muñoz's Fusil olímpico (a co-production between Honduras, Argentina, and Colombia) was part of VdR-Development Lab. Additionally, El silencio de la montaña by Inti Jacanamijoy, produced by Jorge Forero, and XiXi by Fan Wu (a Taiwanese production with Colombian Anna Magdalena Silva Schlenker as the editor) were part of VdR-Rough Cut Lab.
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