Very well done Colombian thriller. Extremely well directed, acted and filmed, it uses amateur actors. The film is violent and is inspired in the defense of no violence, what is particularly amazing as the the director herself had her father murdered when she was 22. The two main characters are portrayed by a girl and a young man who have quite similar backgrounds of their roles, what is also very interesting. It is a thriller that makes espectator very anxious, as trying to kill Jesus is obviously not a good idea...
4 Reviews
my review
fai-9046910 October 2017
Working with non-professional actors was a brave choice but it shows unfortunately in this movie. As I understood it in the Q+A after the screening, the director Laura Mora Ortega wanted locals from Medellin because they speak the language (slang) more authentic than an actor. The part where the main character Paula snaps and messes up a bedroom and the office, reminded me a bit (only a tiiiny bit) of Tommy Wiseau in the infamous "The Room". Otherwise she did good for most of the time. The script had some issues too. Near the end there was a scene about a political celebration that felt a bit forced. The dialogues with the dealer (Gato I think was his name) were awkward. Although the camera work is from time to time extremely shaky, it is well done. Some shots of the movie where totally breathtaking when they ride around at night in a festive Medellin for example. In a few shots we see the sunlight reflect beautifully on Natasha Jaramillo's (Paula) hair which acts like a canvas. The tone of the film is gripping and it has a realistic feel to it. I have very mixed feelings as you can read here. I was disappointed right after the movie but the longer I think about it the better it gets, especially with an ending like that.
Visceral, gripping, and lovely
pbjosh12 May 2019
A simply made movie about frustration and inertia in a violent society. For me an all time top movie. Like a less fantastic, more personal City of God. To answer the other commenter who says that the father's death was unexplained, it was explained, if subtly. He was a politically vocal person and part of the point of the movie is that in the darker times 10-15+ years ago in Medellin there was no knowing, there was no justice. No Colombians nor many Latinos, for that matter, would have lost the meaning though people less familiar with Colombian history can't be expected to have the background.
Immersive, Authentic and Illuminating
Blue-Grotto29 October 2017
Warning: Spoilers
The less you know the more you live, and the less you live the more you refuse to know. 22-year-old Paula is pulled in both directions when her father is gunned down before her eyes on the streets of Medellin. She gets a look at the killer, and the only reason she is still alive is because the killer did not notice her. The police tell her family to move and hide away, yet Paula refuses. Soon she stumbles into the killer, Jesus, at a nightclub. Paula lures him closer, feigning interest so she can trap and kill him. However, when Jesus reveals his soft side, Paula begins to lose her resolve. Jesus also attempts to get Paula to embrace her anger. "Without hatred," he tells her "nothing happens." Confused and doubtful, Paula may not be able to pull the trigger when she needs to.
Medellin aglow in Christmas lights, sparklers and neon at night, threading its streets on a motor cycle, scenic views from the surrounding mountains, the pulse of the nightclubs, swimming in a clear forest stream, and bicycles streaking down the steep slopes into the city; the cinematography is immersive and illuminating. Shot in natural light with frequent close-ups, the camera work reveals both the beauty and darkness of Medellin. The film is worth seeing for the amazing cinematography alone.
The film is dedicated to the director's father who was killed in front of her, as with Paula in the film. Unlike the film, Laura Mora did not actually meet the killer, but saw him in dream. The film explores what she might have done. The film's authenticity, a deep connection and sympathy to the characters, the actors and the city, really shines. The non-professional actors contribute as much to this as the director. Sure the acting is a little clunky at times, but authenticity is a better mark to aim for. Infused in the theme of the story is sympathy for all the victims of a corrupt and violent society. Take your broken heart and turn it into something beautiful, this is what the director has done. Seen at the Toronto International Film Festival. Four and a half of five stars.
Medellin aglow in Christmas lights, sparklers and neon at night, threading its streets on a motor cycle, scenic views from the surrounding mountains, the pulse of the nightclubs, swimming in a clear forest stream, and bicycles streaking down the steep slopes into the city; the cinematography is immersive and illuminating. Shot in natural light with frequent close-ups, the camera work reveals both the beauty and darkness of Medellin. The film is worth seeing for the amazing cinematography alone.
The film is dedicated to the director's father who was killed in front of her, as with Paula in the film. Unlike the film, Laura Mora did not actually meet the killer, but saw him in dream. The film explores what she might have done. The film's authenticity, a deep connection and sympathy to the characters, the actors and the city, really shines. The non-professional actors contribute as much to this as the director. Sure the acting is a little clunky at times, but authenticity is a better mark to aim for. Infused in the theme of the story is sympathy for all the victims of a corrupt and violent society. Take your broken heart and turn it into something beautiful, this is what the director has done. Seen at the Toronto International Film Festival. Four and a half of five stars.
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