[Music] you
I wanna tell you guys a story so I was
I wanna tell you guys a story so I was 14 when my sister and I start making
14 when my sister and I start making
14 when my sister and I start making short films because we wanted to
short films because we wanted to
short films because we wanted to encapsulate our time not just to view
encapsulate our time not just to view
encapsulate our time not just to view others we made movies about struggling
others we made movies about struggling
others we made movies about struggling to find their art about understanding
to find their art about understanding
to find their art about understanding your personality and the absurdity of
your personality and the absurdity of
your personality and the absurdity of perfection about finding oneself within
perfection about finding oneself within
perfection about finding oneself within your sins I am driven by film by just
your sins I am driven by film by just
your sins I am driven by film by just how fascinating it is to use a camera to
how fascinating it is to use a camera to
how fascinating it is to use a camera to manipulate movement near surroundings
manipulate movement near surroundings
manipulate movement near surroundings and help you to a story you wish to tell
and help you to a story you wish to tell
and help you to a story you wish to tell at the beginning of the year I went to a
at the beginning of the year I went to a
at the beginning of the year I went to a director chat screening in that relative
director chat screening in that relative
director chat screening in that relative Tolia here in Cali Colombia a and the
Tolia here in Cali Colombia a and the
Tolia here in Cali Colombia a and the documentary that I saw it was made by
documentary that I saw it was made by
documentary that I saw it was made by director Luis Ospina
director Luis Ospina
director Luis Ospina and it was an exploration of Callie’s
and it was an exploration of Callie’s
and it was an exploration of Callie’s art culture during the 80s it was all
art culture during the 80s it was all
art culture during the 80s it was all about art and all they had at the time
about art and all they had at the time
about art and all they had at the time so at the same time it was like an
so at the same time it was like an
so at the same time it was like an embrace of all the problems that
embrace of all the problems that
embrace of all the problems that happened and lucifina was in fact part
happened and lucifina was in fact part
happened and lucifina was in fact part of the generation known as a Cali wood
of the generation known as a Cali wood
of the generation known as a Cali wood our data is movement I noticed something
our data is movement I noticed something
our data is movement I noticed something peculiar these stories they used to
peculiar these stories they used to
peculiar these stories they used to focused on were extremely absurd they
focused on were extremely absurd they
focused on were extremely absurd they were weird at the end lucifina appeared
were weird at the end lucifina appeared
were weird at the end lucifina appeared for the converse Ettore and i asked
for the converse Ettore and i asked
for the converse Ettore and i asked about his education about anecdote with
about his education about anecdote with
about his education about anecdote with artists and the differences in working
artists and the differences in working
artists and the differences in working films in the United States and here in
films in the United States and here in
films in the United States and here in Colombia which he expressed that in
Colombia which he expressed that in
Colombia which he expressed that in United States there was a unique
United States there was a unique
United States there was a unique technicality of filming it was way more
technicality of filming it was way more
technicality of filming it was way more centering itself than what Colombian
centering itself than what Colombian
centering itself than what Colombian filmmaking is Liz Osteen also said that
filmmaking is Liz Osteen also said that
filmmaking is Liz Osteen also said that the stereotypical Colombian filmmaker
the stereotypical Colombian filmmaker
the stereotypical Colombian filmmaker tries to copy what culture in the United
tries to copy what culture in the United
tries to copy what culture in the United States is or what problems in the United
States is or what problems in the United
States is or what problems in the United States are what’s wrong with that
States are what’s wrong with that
States are what’s wrong with that is that they make their own version of
is that they make their own version of
is that they make their own version of those exact same problems reaching an
those exact same problems reaching an
those exact same problems reaching an aesthetic which is in fact not natural
aesthetic which is in fact not natural
aesthetic which is in fact not natural nor real this happens because we don’t
nor real this happens because we don’t
nor real this happens because we don’t live on that exact same culture making
live on that exact same culture making
live on that exact same culture making it seem for
it seem for
it seem for is than original as a theme start to
is than original as a theme start to
is than original as a theme start to revolve around basic cliches subjects
revolve around basic cliches subjects
revolve around basic cliches subjects that’s the biggest problem with
that’s the biggest problem with
that’s the biggest problem with Colombian filmmaking it ignores the
Colombian filmmaking it ignores the
Colombian filmmaking it ignores the absurdity the beauty the chaos in which
absurdity the beauty the chaos in which
absurdity the beauty the chaos in which people in your own cultural living when
people in your own cultural living when
people in your own cultural living when you play the character to live in a
you play the character to live in a
you play the character to live in a Latin world that surrounds them instead
Latin world that surrounds them instead
Latin world that surrounds them instead of that some artificial overused by no
of that some artificial overused by no
of that some artificial overused by no form of approaching a setting then you
form of approaching a setting then you
form of approaching a setting then you will find the aspects of magical realism
will find the aspects of magical realism
will find the aspects of magical realism of the craziness were the people of
of the craziness were the people of
of the craziness were the people of Colombia and the Latin culture is
Colombia and the Latin culture is
Colombia and the Latin culture is projected where the story seemed real
projected where the story seemed real
projected where the story seemed real and fresh and natural in a way the Latin
and fresh and natural in a way the Latin
and fresh and natural in a way the Latin people could be considered to depend on
people could be considered to depend on
people could be considered to depend on two major aspects for their filmmaking
two major aspects for their filmmaking
two major aspects for their filmmaking since that since they’re making during
since that since they’re making during
since that since they’re making during the colonial times first there’s a
the colonial times first there’s a
the colonial times first there’s a structure which was brought by the
structure which was brought by the
structure which was brought by the colonizers and then there’s the magic
colonizers and then there’s the magic
colonizers and then there’s the magic that comes from the indigenous tribes
that comes from the indigenous tribes
that comes from the indigenous tribes and adds up to that mixture magic has
and adds up to that mixture magic has
and adds up to that mixture magic has always been the aspect that explains the
always been the aspect that explains the
always been the aspect that explains the absurdity of the leaves behaviors and
absurdity of the leaves behaviors and
absurdity of the leaves behaviors and actions while the structure comes from
actions while the structure comes from
actions while the structure comes from copying other cultures which nowadays
copying other cultures which nowadays
copying other cultures which nowadays could be imposed social media and the
could be imposed social media and the
could be imposed social media and the way technology shapes the world
way technology shapes the world
way technology shapes the world virtually into a more Americanized form
virtually into a more Americanized form
virtually into a more Americanized form of culture so if you find Latin people
of culture so if you find Latin people
of culture so if you find Latin people whose life often depends more on a
whose life often depends more on a
whose life often depends more on a social media you can understand why they
social media you can understand why they
social media you can understand why they wouldn’t find things as odd if you find
wouldn’t find things as odd if you find
wouldn’t find things as odd if you find the people who have more problems in
the people who have more problems in
the people who have more problems in Latin America you will understand how
Latin America you will understand how
Latin America you will understand how them being impacted by actions will make
them being impacted by actions will make
them being impacted by actions will make them believe that whatever they’re
them believe that whatever they’re
them believe that whatever they’re experiencing is more natural than what
experiencing is more natural than what
experiencing is more natural than what they think and in a certain perspective
they think and in a certain perspective
they think and in a certain perspective their actual leaving a form of magical
their actual leaving a form of magical
their actual leaving a form of magical realism magical realism start off in the
realism magical realism start off in the
realism magical realism start off in the mid twentieth century as a literary
mid twentieth century as a literary
mid twentieth century as a literary movement by Latin American writers such
movement by Latin American writers such
movement by Latin American writers such as it was
as it was
as it was luis borges pablo neruda and Gabrielle
luis borges pablo neruda and Gabrielle
luis borges pablo neruda and Gabrielle Garcia Marquez these riders focused on
Garcia Marquez these riders focused on
Garcia Marquez these riders focused on the absurdity and magic that lies within
the absurdity and magic that lies within
the absurdity and magic that lies within our Latin culture they wrote stories
our Latin culture they wrote stories
our Latin culture they wrote stories which are all fascinating and irrational
which are all fascinating and irrational
which are all fascinating and irrational stories that could actually happen to
stories that could actually happen to
stories that could actually happen to people
people
people an old man with enormous wings washes up
an old man with enormous wings washes up
an old man with enormous wings washes up on a beach characters are confined to a
on a beach characters are confined to a
on a beach characters are confined to a never-ending library and others just
never-ending library and others just
never-ending library and others just chat with themselves from an earlier
chat with themselves from an earlier
chat with themselves from an earlier time these stories captured the
time these stories captured the
time these stories captured the melancholy the abstract and the
melancholy the abstract and the
melancholy the abstract and the delusional state of one’s mind showing
delusional state of one’s mind showing
delusional state of one’s mind showing that Latin American culture encompasses
that Latin American culture encompasses
that Latin American culture encompasses unique types of problems from the ashes
unique types of problems from the ashes
unique types of problems from the ashes of colonization distinguishing itself by
of colonization distinguishing itself by
of colonization distinguishing itself by the unbelievable and sometimes horrific
the unbelievable and sometimes horrific
the unbelievable and sometimes horrific stories that are now normalized
stories that are now normalized
stories that are now normalized throughout the absurdity of history we
throughout the absurdity of history we
throughout the absurdity of history we can find that culture has been shaped by
can find that culture has been shaped by
can find that culture has been shaped by the things that happen the way cumbia
the things that happen the way cumbia
the things that happen the way cumbia was created for example as a popular
was created for example as a popular
was created for example as a popular dance is based on the Masters asking
dance is based on the Masters asking
dance is based on the Masters asking their slaves to dance with a limited
their slaves to dance with a limited
their slaves to dance with a limited movement caused by the chains in their
movement caused by the chains in their
movement caused by the chains in their feet their I dare to say isn’t that just
feet their I dare to say isn’t that just
feet their I dare to say isn’t that just shocking
shocking
shocking however magical realism was explored in
however magical realism was explored in
however magical realism was explored in film as well Hollywood who was part of
film as well Hollywood who was part of
film as well Hollywood who was part of the diced art movement of the eighties
the diced art movement of the eighties
the diced art movement of the eighties who started off by a film club created
who started off by a film club created
who started off by a film club created by Andres K cell a famous writer from
by Andres K cell a famous writer from
by Andres K cell a famous writer from Cali who showed international movies
Cali who showed international movies
Cali who showed international movies from a European art house directors
from a European art house directors
from a European art house directors eventually the film culture in Cali
eventually the film culture in Cali
eventually the film culture in Cali started to grow as directors were
started to grow as directors were
started to grow as directors were inspired by those international films as
inspired by those international films as
inspired by those international films as an escape from the problems of Colombia
an escape from the problems of Colombia
an escape from the problems of Colombia in the eighties the drugs powerless
in the eighties the drugs powerless
in the eighties the drugs powerless Kawara the area’s the corruption the
Kawara the area’s the corruption the
Kawara the area’s the corruption the murders the illiteracy the kidnapping
murders the illiteracy the kidnapping
murders the illiteracy the kidnapping thus it became the moment where artists
thus it became the moment where artists
thus it became the moment where artists looked upon the issues at the time and
looked upon the issues at the time and
looked upon the issues at the time and trying to find new ways to shift their
trying to find new ways to shift their
trying to find new ways to shift their minds away
minds away
minds away it was a form of transforming emotion of
it was a form of transforming emotion of
it was a form of transforming emotion of pain into the catharsis of the soul
pain into the catharsis of the soul
pain into the catharsis of the soul through art for example the mockumentary
through art for example the mockumentary
through art for example the mockumentary grabbing town satirizing manipulation of
grabbing town satirizing manipulation of
grabbing town satirizing manipulation of the media by having a shot within a shot
the media by having a shot within a shot
the media by having a shot within a shot as one perspective was an interview from
as one perspective was an interview from
as one perspective was an interview from a real person and another one was the
a real person and another one was the
a real person and another one was the dramatization of a director telling the
dramatization of a director telling the
dramatization of a director telling the real person what to say and how to act
real person what to say and how to act
real person what to say and how to act showing that the people were not
showing that the people were not
showing that the people were not actually as miserable as they might look
actually as miserable as they might look
actually as miserable as they might look but how the media can manipulate
but how the media can manipulate
but how the media can manipulate emotions the filmmakers at the time
emotions the filmmakers at the time
emotions the filmmakers at the time focused on Colombian stories with
focused on Colombian stories with
focused on Colombian stories with Colombian culture and with a taste of
Colombian culture and with a taste of
Colombian culture and with a taste of absurdity that is there in the Latin
absurdity that is there in the Latin
absurdity that is there in the Latin world and magical realism dearest
world and magical realism dearest
world and magical realism dearest artists have shaped their minds into a
artists have shaped their minds into a
artists have shaped their minds into a state where abnormal situations start to
state where abnormal situations start to
state where abnormal situations start to become more normal than what they
become more normal than what they
become more normal than what they actually are and the expression of those
actually are and the expression of those
actually are and the expression of those thoughts is what makes art be art
thoughts is what makes art be art
thoughts is what makes art be art inspired by history and art inspiration
inspired by history and art inspiration
inspired by history and art inspiration can come from the struggles that happen
can come from the struggles that happen
can come from the struggles that happen within our ambient in Colombia we still
within our ambient in Colombia we still
within our ambient in Colombia we still find the travels of gorillas we still
find the travels of gorillas we still
find the travels of gorillas we still have poverty displaced people we still
have poverty displaced people we still
have poverty displaced people we still have national tragedies like the mall
have national tragedies like the mall
have national tragedies like the mall avalanche in Makaha I remember my father
avalanche in Makaha I remember my father
avalanche in Makaha I remember my father telling me how he went to our maid after
telling me how he went to our maid after
telling me how he went to our maid after the tragedy it was for an architecture
the tragedy it was for an architecture
the tragedy it was for an architecture project and he said the most shocking
project and he said the most shocking
project and he said the most shocking thing about the place was the silence
thing about the place was the silence
thing about the place was the silence feelings such as being struck by silence
feelings such as being struck by silence
feelings such as being struck by silence it was feels one soul and coalsack for a
it was feels one soul and coalsack for a
it was feels one soul and coalsack for a form of expression
form of expression
form of expression despite the art from from film to a
despite the art from from film to a
despite the art from from film to a painting to a song to whatever you can
painting to a song to whatever you can
painting to a song to whatever you can call as a form of catharsis that’s the
call as a form of catharsis that’s the
call as a form of catharsis that’s the way art is processed a problem enters
way art is processed a problem enters
way art is processed a problem enters one’s mind and shapes within it to come
one’s mind and shapes within it to come
one’s mind and shapes within it to come out as a creation meanwhile what could
out as a creation meanwhile what could
out as a creation meanwhile what could we consider as the general public of
we consider as the general public of
we consider as the general public of Colombia you find they still live in a
Colombia you find they still live in a
Colombia you find they still live in a world of a
world of a
world of a serda t they are not living based on
serda t they are not living based on
serda t they are not living based on social media nor an Americanized culture
social media nor an Americanized culture
social media nor an Americanized culture you can even go deeper into the people
you can even go deeper into the people
you can even go deeper into the people and their absurd conditions for example
and their absurd conditions for example
and their absurd conditions for example some of the displaced people from McCory
some of the displaced people from McCory
some of the displaced people from McCory have been running a little position of
have been running a little position of
have been running a little position of life and death with no place to sleep
life and death with no place to sleep
life and death with no place to sleep with family members being crushed to
with family members being crushed to
with family members being crushed to death with all their possessions gone
death with all their possessions gone
death with all their possessions gone and having to depend on cultural work in
and having to depend on cultural work in
and having to depend on cultural work in order to survive maybe having to do
order to survive maybe having to do
order to survive maybe having to do something like I don’t know cutting
something like I don’t know cutting
something like I don’t know cutting sugar canes to go to a bakery and buy
sugar canes to go to a bakery and buy
sugar canes to go to a bakery and buy some panda oh no when Garcia Marquez
some panda oh no when Garcia Marquez
some panda oh no when Garcia Marquez spoke about returning to Colombia after
spoke about returning to Colombia after
spoke about returning to Colombia after living abroad he mentioned the most
living abroad he mentioned the most
living abroad he mentioned the most important idea that all artists have to
important idea that all artists have to
important idea that all artists have to take into account is that culture needs
take into account is that culture needs
take into account is that culture needs to be embraced not denied one must
to be embraced not denied one must
to be embraced not denied one must understand their origins or as Albert
understand their origins or as Albert
understand their origins or as Albert Camus once said except your history if
Camus once said except your history if
Camus once said except your history if you are willing to make your stories
you are willing to make your stories
you are willing to make your stories around your setting and what you have
around your setting and what you have
around your setting and what you have and what actual things happen which you
and what actual things happen which you
and what actual things happen which you could then express then you’re not just
could then express then you’re not just
could then express then you’re not just going to find a more natural film or
going to find a more natural film or
going to find a more natural film or story but you also find what to talk
story but you also find what to talk
story but you also find what to talk about and the truth that lays there it’s
about and the truth that lays there it’s
about and the truth that lays there it’s not something artificial it’s not
not something artificial it’s not
not something artificial it’s not something Americanized or forced to be
something Americanized or forced to be
something Americanized or forced to be made up with an unnatural aesthetic it
made up with an unnatural aesthetic it
made up with an unnatural aesthetic it will be something that comes way more
will be something that comes way more
will be something that comes way more natural something that happened to your
natural something that happened to your
natural something that happened to your aunt or your grandfather it’ll be in
aunt or your grandfather it’ll be in
aunt or your grandfather it’ll be in fact something that you can see with
fact something that you can see with
fact something that you can see with your bare eyes we as filmmakers and
your bare eyes we as filmmakers and
your bare eyes we as filmmakers and artists living right now in a more
artists living right now in a more
artists living right now in a more structural world wracked by technology
structural world wracked by technology
structural world wracked by technology social media and the lack of our own
social media and the lack of our own
social media and the lack of our own culture we have to look at what’s in
culture we have to look at what’s in
culture we have to look at what’s in front of us we have an amazing culture
front of us we have an amazing culture
front of us we have an amazing culture let’s stop looking at the superficial
let’s stop looking at the superficial
let’s stop looking at the superficial and start filling the real magic
and start filling the real magic
and start filling the real magic thank you
thank you
thank you [Applause]
”
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