COLOMBIA / FRANCE / NETHERLANDS / CHILI / BRAZIL
2015 / WORLD PREMIERE
1H37 – IN SPANISH
Synopsis
Alfonso is an old farmer who has returned home to tend to his son, who is gravely ill. He rediscovers his old house, where the woman who was once his wife still lives, with his daughter-in-law and grandson. The landscape that awaits him resembles a wasteland. Vast sugar cane plantations surround the house, producing perpetual clouds of ash. 17 years after abandoning them, Alfonso tries to fit back in and save his family.
Trailer
DIRECTOR: César Augusto Acevedo
PRODUCTION: Paola Perez-Nieto - Jorge Forero - Diana Bustamante
SCREENPLAY: César Augusto Acevedo
CINEMATOGRAPHY: Mateo Guzmán
EDITING: Miguel Schverdfinger
SOUND: Felipe Rayo
PRODUCTION DESIGN: Marcela Gómez
CAST:
Haimer Leal
Hilda Ruiz
Edison Raigosa
Marleyda Soto
José Felipe Cárdenas
PRODUCTION
BURNING BLUE Jorge Forero
Tel. +57 30 05 53 38 53
jorgeforero@burningblue.com.co
CO-PRODUCTION
CINÉ-SUD PROMOTION
Thierry Lenouvel
Tel. +33 (0)6 78 00 05 92
thierry@cinesudpromotion.com
TOPKAPI FILMS
Frans Van Gasel
Tel. +31 628 88 4203
frans@topkapifilms.com
RAMPANTE CINE
Giancarlo Nazi
Tel. +56 998 64 8004
nasi.giancarlo@gmail.com
PRETA PORTÊ FILMES
Juliana Vicente
Tel. +55 11 99937 1780
juliana@pretaportefilmes.com.br
DISTRIBUTION
PYRAMIDE DISTRIBUTION
Roxane Arnold
Tel. +33 (0)6 86 90 88 68
rarnold@pyramidefilms.com
SALES
PYRAMIDE INTERNATIONAL
Elisabeth Perlié
Tel. +33 (0)6 63 86 77 02
eperlie@pyramidefilms.com
Agathe Mauruc
Tel. +33 (0)6 65 65 22 40
amauruc@pyramidefilms.com
INTERNATIONAL PRESS
CLAUDIA TOMASSINI & ASSOCIATES
Claudia Tomassini
Tel. + 49 173 205 5794
claudia@claudiatomassini.com
FRENCH PRESS
CINÉ-SUD PROMOTION
Claire Viroulaud
Tel. +33 (0)6 87 55 86 07
claire@cinesudpromotion.com
CONTACT CANNES
BURNING BLUE
Jorge Forero
Tel. +57 300 55 33 853
jorgeforero@burningblue.com.co
“The idea for this film was born of personal pain. At the time I began writing the screenplay my mother was dead, my father was a ghost, and given my inability to generate memories, they seemed completely lost to me. Thus arose my need to make a film that would allow me to recover the two most important people in my life, using the language of film. This led to my decision to create a microcosm consisting of a small house and a tree, where I could somehow be reunited with those I loved most.
My origins are in Colombia’s Valle del Cauca region, whose economy depends mainly on the sugar industry. My intention from the start was to speak of a people devastated by a paradoxical idea of progress, which has generated numerous social problems that have remained invisible to the eyes of history.
As the conflict focused on the family drama, the most important thing was to convey the distance between the characters' bodies and emotions. I needed a device that would force the characters to share the same space and time, despite the lack of communication between them. This discomfort caused the gradual revelation of these passions and emotions as each of the characters was forced to confront the others, and the space they all inhabit. That’s why the use of sequence shots is essential. They not only rendered the characters' enclosure in the physical and emotional space more palpable, but also served to motivate their actions in the frame. We wanted shots that would allow us to experience time, so that the viewer would also have a chance to feel what they were seeing without being confined to what was happening on the screen.”
Interview by Xavier Leherpeur
