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© Invasión Cine
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AUTEUR(S)-RÉALISATEUR(S)

Federico Atehortúa Arteaga

IMAGE

Mauricio Reyes Serrano

SON

Diana Martínez Muñoz, José Delgadillo Muñoz

MONTAGE

Federico Atehortúa Arteaga

MUSIQUE ORIGINALE

Carlos Eduardo Quebrada Vásquez

PRODUCTION / DIFFUSION

Invasión Cine, Montañero Cine

PARTICIPATION

Proimagenes, Universitat Pompeu Fabra

ORGANISME(S) DÉTENTEUR(S) ou DÉPOSITAIRE(S)

Invasión Cine

ISAN : non renseigné - en savoir plus
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Pas de résumé français disponible

In 1906, four men were executed for attempting to assassinate the president of Colombia. Years later, the filmmaker Federico Atehortúa discovers the strange and improbable relationship that exists between the failed assassination, his mother, and the origins of cinema in Colombia: a long history of violence.
Since the genesis of cinema in Colombia and the first photographs, deaths and violent episodes have been part of the country’s visual history. The director deconstructs the social imaginary with an unusual talent in analyzing the film archives that have marked several generations of Colombians. When his mother suddenly stops talking, Federico Atehortúa investigates his own past, which involves television broadcasts about the civil war and home movies in which he disguised himself as a guerrilla fighter. The film as archive reveals itself as a powerful medium, capable of modeling and reviving memories.

In 1906, four men were executed for attempting to assassinate the president of Colombia. Years later, the filmmaker Federico Atehortúa discovers the strange and improbable relationship that exists between the failed assassination, his mother, and the origins of cinema in Colombia: a long history of violence.
Since the genesis of cinema in Colombia and the first photographs, deaths and violent episodes have been part of the country’s visual history. The director deconstructs the social imaginary with an unusual talent in analyzing the film archives that have marked several generations of Colombians. When his mother suddenly stops talking, Federico Atehortúa investigates his own past, which involves television broadcasts about the civil war and home movies in which he disguised himself as a guerrilla fighter. The film as archive reveals itself as a powerful medium, capable of modeling and reviving memories.

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