Chiquinquirá, May 15th(NaN)

Frío en la montaña(es)

Rosa(en)

A devoted maid for an upper class family has a special place in the heart of Daniel, the family’s six-year-old boy. But when tragedy strikes, she is reminded of her true place in the family.

Con su Música a otra parte(es)

A young balladeer raised in the United States returns to Colombia to continue her career. Her plans do not align with her mother's, a famous singer of tropical music, and their clash is inevitable. The girl flees her home and frequents the spaces of musicians and artists with revolutionary tendencies.

Raíces(es)

In her search for job opportunities, Marley, a Sitionuevera mother, moves to Barranquilla, leaving her children in the care of her mother, Claudia in the municipality of Sitionuevo. As the community embraces traditional life, Marley yearns for a different future, triggering a generational conflict between deep roots and aspirations for change, but ultimately being a story of the power of love.

Es mejor ser rico que pobre(es)

Esmeraldero(es)

The true story of the rise of a Japanese businessman from Los Angeles named Eishy Hayata from an Airline engineer into the legend of the Emerald world -- the Emerald Cowboy

Mariposas S. A.(en)

The story of seven prostitutes traveling in a truck, town to town, selling their show in local festivities inside an old circus tent. The authorities demand bribes in order to keep the order in town.

Petecuy, La Película(es)

Welcome Back(es)

After being deported to Venezuela, one of the most dangerous countries in the world, Rosa and her daughter must find a way to escape to Colombia.

Dangerous Play(es)

Copa Libertadores, 1989. A true story about football, corruption and the power of Pablo Escobar and his cartel, told by its protagonists: five referees who resisted the dramatic weight of an era.

Oscar(es)

La Negociación(es)

Song of the Flies(es)

The experimental animated film Song of the Flies (El Canto de las Moscas), translates the desolation caused by the violence of the Colombian armed conflict through the poetic voice of Maria Mercedes Carranza (1945–2003) and the audiovisual dialogue between 9 Colombian women. In 24 places, as a transit over the course of a day (Morning, Day, Night) a map of terror is drawn where massacres took place in Colombia in the 1990s. Archival images, the artists’ personal memories and the use of loops and analogue materials bring to life the landscapes ravaged by violence and build a polyphony of memory and mourning, a universal song of pain.

Diamond Tongue(en)

Lengua de diamante submerges into the past, present, and future life of Elsa Riveros, Colombia’s First Lady of Rock. Long after her iconic career as a fierce 80s rock singer, Elsa now seeks to reinvent herself as a political painter in northern Virginia, where she raises her son.

Terminal(es)

When the Road Ends(en)

Growing up in poverty as a child, Dylan dreamt of travelling the world on a motorcycle. Many years later he broke the shackles of a normal life and took to the road. After journeying 200,000km across four continents, the road from Panama to Colombia comes to an end, swallowed up by an impenetrable jungle. Dylan has no choice but to take to the sea, building a raft powered by his motorcycle engine in the hope of reaching Colombia's road network 700km away. He must brave strong ocean currents and storm batterings in his journey from Central to South America.—Journeyman Pictures

Dejen quieta la Iguana(es)

Desprendimiento de ano(es)

Missing(en)

When her mother disappears while on vacation in Colombia with her new boyfriend, June’s search for answers is hindered by international red tape. Stuck thousands of miles away in Los Angeles, June creatively uses all the latest technology at her fingertips to try and find her before it’s too late. But as she digs deeper, her digital sleuthing raises more questions than answers... and when June unravels secrets about her mom, she discovers that she never really knew her at all.

I'm not speak english(es)

With analog and digital material collected during her stay on a "Work Trip" taking care of children in an American kindergarten as a migrant. I'm not speak English proposes —as a visual autobiography— to make visible a phantasmagorical light as a metaphor for the sudaca's bodies that work in invisible care task. Migrant bodies who bear as an imperceptible force the North American Nation.