WEBVTT

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All pilgrims inside the church,

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may you please…

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Almighty Father,
creator of heaven and earth,

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Jesus Christ his only son...
Holy Mary, Mother of God,

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pray for us sinners, now and
at the hour of our death. Amen.

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Hail Mary, full of Grace,

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the Lord is with you,
blessed are you among...

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Holy Mary, Mother of God,
pray for us sinners,

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now and at the hour of our death.
Amen.

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Hail Mary, full of Grace,

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the Lord is with you,
blessed are you among women

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and blessed is the fruit
of your womb, Jesus.

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Holy Mary, Mother of God,
Pray for us sinners...

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THE WAY TO CALVARY

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The news, take the news!

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THE FILM JUSTIFIES THE MEANS

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Ladies and gentlemen,

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celebrating the first carnival
of age of economic emergency,

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we gladly present to you,
\'La ópera del Mondongo\' The Cow Tripe Opera,

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by Master Peñaranda. Father of that alligator
who left for Barranquilla.

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returning every year ever since
for carnival

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despite the counter current
of a misunderstood progress.

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♪ The cayman is leaving,
leaving for Barranquilla... ♪

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Sixteen films guard fragments of the beginnings
of the political documentary in Colombia

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Films made by emerging filmmakers who took
to the streets and villages during the 1960s

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to document the country

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Chapter 1:
Filming the Silence

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I returned in 1965

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and I said, ‘I\'m going to start
making this documentary’.

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There was nothing here.

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MARTA RODRÍGUEZ
Pioneer of social documentary

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No film schools, no producing companies,
There was nothing, so...

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then, my husband, Jorge Silva, who had
already done a film about his life showed up.

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He told me, ‘your theories are going
to fall apart over there!’

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‘They will turn into something else’.

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‘Go film and learn.’

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If you see documentaries of that time,
‘Chircales’ -making bricks- for instance,

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and silence plays a fundamental role,

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CARLOS SÁNCHEZ
Cinematographer

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silence was used as a dramatic element.

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You arrive there.
Two complete strangers.

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And with our equipment, which was
Magic for them. Utterly magical.

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And you transform everything,
you create a process that changes it all.

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In other words, film making
was magic, magical.

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Direct sound was unconceivable for us
in an under-developed film industry.

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CARLOS ÁLVAREZ
Filmmaker and critic

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There were simply
no technical possibilities.

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So, what could you do?
Shooting film!

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Script,...

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research and fieldwork.

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I had to operate the sound recorder.
Jorge was the cinematographer.

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We both edited.

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What they called at the time
as ‘do-it-all’s’.

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Since there were no film schools,

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people just had to know
how to do all those jobs.

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Taking the risk of looking out from the
Margins searching for other cinematographies

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And in such a saddening landscape,
to see that woman in a white gown

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walking across,

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it was kind of magic,

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because there\'s some poesy
In the midst of all that horror.

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And I adored filmmaker Jean Vigo’s
poetic realism. He was my mentor.

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I loved that sequence from ‘L\'Atalante’

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where she goes down the Seine river
in her floating white gown,

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I paid tribute to Jean Vigo.

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{\\an3} \'Real Machos\' are afraid
of Social Realism

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There was an old cinema,
the Mexican one,

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the Brazilian and the Argentinian.

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Those were times

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of a cult to cameras,

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a cult to the device,
a worship to light...

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impressive!

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The camera tripod,

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it was like the support
of the terrestrial globe,

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the camera was the world itself.

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Movies had to be almost unavoidably,
a copy

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of productions made in other countries.

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There was a Costumbrista cinema.

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There was a Spanish fellow,
José María Arzuaga.

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He did ‘Raíces de Piedra’
(Stone Roots),

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but it had Spanish guitar music
and a Spanish accent.

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It had such actors
and melodramatic plots.

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It wasn\'t a cinema that analyzed
what happened in the country

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with an analytical, political viewpoint.

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It was more one that portrayed,
for instance, the life of street children.

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that they lived in the streets,
Petty thieves, who stole auto parts...

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But it didn\'t have
a critical, political point of view.

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What\'s today’s cinema looking for?
Who\'s its audience?

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{\\an8} Carlos Álvarez, Diego León Giraldo,
Gabriela Samper, Luis Ernesto Arocha,

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{\\an8} will screen their short-films
at the National Film Festival

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next Monday, September 29th,

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the documentaries, ‘Asalto’, ‘Camilo’

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‘Salcedo\'s Windows’ and ‘Felisa today’,
a film by Arocha.

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Where all of you a group?

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I... I would ask instead,
\'What is a group?\'

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I might insist in what I said, that
there was some kind of will

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towards working.
We had some cinematographic affinities,

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We were against all presumptuous
and flashy movies.

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A characteristic of it could be its stance
against that presumptuous films.

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It was a process that was developing,

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as a consequence of the example
set by the Cuban Revolution.

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In Bolivia, there was Sanjinés,

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in Argentina they had
Solanas and Getino.

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And here, we were starting to film about
political issues.

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There was the Group of the city of Cali,

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Then there was us,
with our political films,

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it was an inner circle, clearly said,
I was friends with

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the people from ‘our clique’, for
Pepe Sánchez\'s brother...

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Carlos... and we were very close.

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Yes, it was a movement.

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The Viña del Mar Film Festival

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marked an important Latin American
film movement.

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And we were like...

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the Colombian chapter of that movement.

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Cycling. Gold medal for Cuba!

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Silver medal for Colombia!

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Long live Socialist Cuba!

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- Are you from the ICAIC?
- Yes, sir.

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How do you feel about the victory
against the Yankees?

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We\'re all very pleased with Cuba\'s victory.

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Euphoric!

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- Were you filming today?
- Yes!

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First,

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you could count with your fingers
those of us who filmed.

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Among the others,
there was Pepe (Sánchez),

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the Silvas who attended a lot.

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Carlos Álvarez.

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Bejarano, Vélez.
Gabriela Samper.

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She was a rebellious woman her whole life.

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The Group of Cali were always in \'Caliwood\'.

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We were never friends with Carlos Álvarez.

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Carlos was a radical,
he thought the Silvas were wrong.

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When I received the Golden Dove
at Leipzig,

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the Cuban Cinema magazine came out
with an article from Carlos Álvarez,

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it stated, ‘the Silvas never
finished the film \'Chircales\'. Never.’

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‘And they are politically questionable’.
So stated Carlitos.

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That was the group, more or less.

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There was Mayolo helping about.

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Another one who contributed
was Gustavo Barrera who was older than us.

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We already had a political commitment.

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A concrete one.

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With the indigenous communities,
peasants, and women.

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Those from Cali...

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I don\'t know.

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Mayolo was very committed
with left wing politics.

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Mayolo was really committed,
not Luis.

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Luis Ospina makes films for film\'s sake.

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It wasn\'t an idyllic thing.

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It was an issue of strong
internal clashes as well.

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Yes.

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What is \'Offical Cinema\' for you?

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Official Cinema to me,

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is a cinema made by...

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an association

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from the private sector,
with Government\'s aid as well.

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What it means, \'Official Cinema\'?

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You don\'t know what it means,
‘Official Cinema’?

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What do you believe ‘Official Cinema’ is?

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‘Official Cinema’?

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I don\'t know.

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Maybe it\'s a cinema ruled
by the government...

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‘Official Cinema’ might be a sport...

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Do you love Arturo Morales?

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I fell in love with Arturo
at first sight.

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There\'s a film,

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sponsored by the government
and several ministries.

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A 35mm feature film, made in color,
processed by Duart in New York City…

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pretty state of the art for that time...

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Since it was a
propaganda film,

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well, it had to speak of all
the good stuff... right?

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But it was a very unfair fight, because
the establishment had television for itself...

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The newspapers that people read,
the radio stations that they listened to…

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They controlled everything….

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The Discreet Charm of Official Cinema

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Today! October the 12th,

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the day in which
America was discovered,

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the day of all races,
a national holiday.

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Day of a non-existent race,

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since we don\'t have
indigenous people anymore

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and those who are left
belong in the museum.

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Anyways,
this celebration serves as pretext

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for the longest
weekend of the year.

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There were two different worlds

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that of industrial cinema
and that of the \'Other Cinema\'.

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At that time, unbeknownst to us,

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without rationalizing it,
it was a technically desacralized cinema,

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but above all, thematically desacralized.

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And we started to film political issues.

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Then, How to Subvert
the Official Cinema?

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So what we did, was to take
the films to popular neighborhoods,

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we gathered, we screened a film,

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held a forum,
and everything came out of that.

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It was really opening oneself
a path in fields women

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hadn’t had access to.

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One comes from a patriarchal society.

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For instance, my mother was from Santander,
catholic, racist and heavily repressive.

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When I told her that
I\'m going to make films,

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she called a lawyer and told him,
‘she went nuts, I\'m disowning her’.

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Verbatim.

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It was marginal in its origins.

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Marginal, because it was outside
the film industry,

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outside traditional ways of production.

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It was cheaper.

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It was more feasible making a documentary
than a feature film.

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It wasn\'t just an ode to poverty, right?

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In reality, they were films that addressed
the world in which we were living.

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Therefore, any image that breaks
with that publicity of well-being

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might be read as subversive.

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It says here ‘Homeland or Death’...

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Chapter 2:
Raid on Cinema

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Certain remote areas
of the country

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denominated by public opinion
as independent republics

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were occupied by military troops in close
collaboration with members of other forces

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reestablishing the principle
of authority

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evicting, capturing and
executing those raised in arms,

00:23:18.300 --> 00:23:23.541
and rescuing, for the sovereignty of the
nation, El Pato, Guayabero and Marquetalia,

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Riochiquito and
the southwestern Tolima regions.

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Twenty gangs of outlaws
were eliminated

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with a total of 545
antisocial dissident dead

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and 513 captured.

00:23:42.574 --> 00:23:45.133
In The Crossfire

00:23:45.219 --> 00:23:49.359
Three Filmmakers Shot
The Birth of FARC

00:23:49.433 --> 00:23:52.517
The Country\'s First Guerrilla

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There were guerrillas all
the way from Canada to Chile.

00:24:16.752 --> 00:24:19.118
Every country had guerrillas.

00:24:20.273 --> 00:24:22.611
What happened is that we
didn\'t have just one guerrilla,

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we had like five of them...

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meaning five different groups
with different tendencies.

00:24:30.369 --> 00:24:35.152
And that\'s not how it happened
in other Latin-American countries

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that was such a peculiar case
that only happened here.

00:24:51.064 --> 00:24:55.125
Joris Ivens sent two camera men

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to film the \'Independent Republics\'

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who belonged to the Communist Party,
because Joris Ivens belonged to the Party.

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He sent two camera men,
Jean Pierre Sergent and Bruno Muel.

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with two Colombians who
went along, one of them was Pepe,

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and the Frenchmen,

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they didn\'t come carrying with them
the film they shot,

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for a simple reason,

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if one got lost,
the other ones wouldn\'t.

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And fortunately they all
arrived safe and sound.

00:25:50.815 --> 00:25:52.347
Up! Up!

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That was one of the main...

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dilemmas of film making,

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that you filmed
and then you didn\'t know...

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In front of their very own cameras
violence was revealed

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The Hegemonic parties joined
as a \'National Front\'

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the violence of 1948 was
at the backdrop of all this

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and Bogota kept growing with
lots of new neighborhoods,

00:26:54.396 --> 00:26:56.881
slums, because they were squatting hoods,
with refugees from the war in the countryside

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we created a foundation,
United Movement of Communal Promotion.

00:27:02.561 --> 00:27:04.981
Who wants to go there?
Volunteers!

00:27:09.788 --> 00:27:13.131
Diego León Giraldo and
Jean Pierre Sergent

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filmed the takeover of the
Policarpa neighborhood, Downton

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which was catastrophic,
two people were killed,

00:27:20.546 --> 00:27:24.038
there was a very strong
arm confrontation with the police...

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And they filmed all that.

00:27:30.468 --> 00:27:35.988
\'Bogotá, four dead, one hundred injured,
eighty prisoners in the Policarpa neighborhood.’

00:27:36.022 --> 00:27:38.628
The reaction was repressive.

00:27:57.301 --> 00:28:04.929
Frequently, filmed images were shared
freely among filmmakers

00:28:10.649 --> 00:28:13.027
Main Concern Collaboration

00:28:15.121 --> 00:28:16.616
In Second Place

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Authorship

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Finally, film ends up being a way

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of taking part in it.

00:28:32.239 --> 00:28:35.353
Of revolting against it.

00:28:52.529 --> 00:28:56.636
I believe that Diego went
out with the camera

00:28:57.136 --> 00:29:00.865
and that\'s when a newspaper vendor
passed by with \'El Espacio\'

00:29:00.972 --> 00:29:03.088
and Camilo\'s picture on it.

00:29:03.683 --> 00:29:07.030
February 15th, 1966.

00:29:08.210 --> 00:29:09.876
\'Camilo Torres\' death.

00:29:12.471 --> 00:29:15.185
The former priest, chaplain at Universidad
Nacional and sociologist from Bogotá, Camilo,

00:29:15.291 --> 00:29:19.841
enrolled the self-named Liberation Army,
ELN (National Liberation Army)

00:29:19.866 --> 00:29:22.257
on early October from the previous year

00:29:22.523 --> 00:29:25.309
and was shot to death
at the Patio Cemento farm

00:29:25.334 --> 00:29:28.641
during a shootout of the guerilla against
the government armed forces.

00:29:31.926 --> 00:29:36.165
‘The Oligarchy killed Camilo’.
That news torn me apart.

00:29:53.185 --> 00:29:57.670
For those of us who at the time
were around 25 years old...

00:29:57.776 --> 00:30:00.960
Camilo Torres represented hope.

00:30:16.016 --> 00:30:21.682
That funeral was the first thing
I filmed on my own.

00:30:22.288 --> 00:30:25.381
With all the mistakes that you
make your first time,

00:30:26.452 --> 00:30:31.084
with unstable framing sometimes,
shots that were way too long...

00:30:32.444 --> 00:30:34.499
But it was important
for me to do it,

00:30:34.538 --> 00:30:39.350
it was our training
and it was also a critique.

00:30:56.029 --> 00:30:58.114
We felt like dying...

00:30:59.161 --> 00:31:01.810
It can\'t be true, impossible!

00:31:03.308 --> 00:31:06.727
Death, death, death...
it was such a big word…

00:31:09.873 --> 00:31:12.153
A mourning that never ends,

00:31:12.497 --> 00:31:15.672
That\'s what us Colombians
have always lived.

00:31:27.096 --> 00:31:33.034
In This Country, Documenting Grief
is a Must.

00:31:34.206 --> 00:31:40.013
University Military Occupied.
One student severly injured and 577 detained’

00:31:51.008 --> 00:31:57.005
Exposing Violence as an Eye-opener

00:31:59.813 --> 00:32:02.730
‘Camilo: We will make the revolution!!’

00:32:02.862 --> 00:32:05.284
‘Camilo: we won\'t cry for you,
we\'ll avenge you!’

00:32:20.128 --> 00:32:23.106
‘Universidad Nacional Under Military Occupation’

00:32:26.613 --> 00:32:29.867
System - Students
Price Hike in Transport Fare - Protest

00:32:30.005 --> 00:32:32.684
Occupation of the campus - ?

00:32:34.626 --> 00:32:37.891
For example,
when I created ‘Asalto’,

00:32:38.025 --> 00:32:41.280
that film documented
the siege of the campus

00:32:41.445 --> 00:32:46.713
that occurred between
1967 and 1968.

00:32:47.186 --> 00:32:48.816
It was part of life, right?

00:32:48.886 --> 00:32:54.705
It\'s cinema responding
to a social issue.

00:32:58.658 --> 00:33:03.008
‘The military police occupy the educational center.
College student wounded by a bullet’

00:33:04.114 --> 00:33:09.047
That was a breaking point for me,

00:33:09.180 --> 00:33:11.160
I was expelled from the university

00:33:11.232 --> 00:33:15.093
because we took the roof tiles off the
buildings and threw them at the police.

00:33:16.398 --> 00:33:19.033
And formed a gigantic movement.

00:33:21.409 --> 00:33:24.434
‘Asalto’ was made in eight days

00:33:24.459 --> 00:33:28.428
made out of photos
and was projected clandestinely.

00:33:32.685 --> 00:33:36.015
And then you start seeing
how guerrillas emerged.

00:33:36.117 --> 00:33:40.400
Che Guevara had just died,
as had Camilo Torres.

00:33:40.449 --> 00:33:44.559
It\'s a Latin-American and
worldwide political movement.

00:33:48.612 --> 00:33:53.304
Universidad Nacional was shut down
for political motives

00:33:53.359 --> 00:33:56.192
and nothing to do
with academia.

00:33:56.395 --> 00:34:00.143
From my point of view,
this is a governmental political maneuver

00:34:00.184 --> 00:34:06.434
that tries to create a state of siege to
then blame us for all the violent acts.

00:34:06.530 --> 00:34:12.743
The military forces and government are
inciting us towards a violent confrontation.

00:34:12.806 --> 00:34:15.949
Of course, the invitation to violence
is happening everywhere,

00:34:16.006 --> 00:34:19.309
because as I see it, the government is
trying desperately to create a state of siege

00:34:19.339 --> 00:34:23.391
for the elections that are in my view
a rampant electoral fraud.

00:34:23.528 --> 00:34:27.357
Now, the country and its people are
recognizing the electoral farce,

00:34:27.422 --> 00:34:29.948
and this is precisely what
the government wants to avoid.

00:34:30.008 --> 00:34:34.990
The government wants to create a state of siege
to consequently blame us for the state of siege.

00:34:36.445 --> 00:34:44.352
First of all, promoting disturbances
is a betrayal to the movement.

00:34:49.768 --> 00:34:55.280
Second, in case public forces
provoke you,

00:34:59.025 --> 00:35:01.894
assume a serene attitude.

00:35:02.025 --> 00:35:05.968
Third, raise your arms.

00:35:06.243 --> 00:35:09.074
Fourth, wave
white handkerchiefs.

00:35:27.989 --> 00:35:34.343
Throw a stone
as many times as necessary

00:35:51.361 --> 00:35:58.573
Record, Edit, Screen what
the Official Cameras Don\'t Want to See

00:36:13.211 --> 00:36:15.028
Emergency Cinema

00:37:34.029 --> 00:37:35.678
There\'s ‘El Flaco’.

00:37:42.301 --> 00:37:44.589
This was the Bolex camera.

00:37:45.150 --> 00:37:48.555
This is the Bolex
without those optics.

00:37:48.982 --> 00:37:55.949
We made 90% of it with this one,
I think.

00:37:57.559 --> 00:38:03.848
Well, this camera had another feature,
setting different shutter speeds

00:38:04.728 --> 00:38:06.417
built in the camera itself.

00:38:06.505 --> 00:38:10.055
It went from
64 frames per second

00:38:14.679 --> 00:38:18.661
and every tick marks a second.

00:38:24.855 --> 00:38:27.039
You would wind it
until it stopped, naturally.

00:38:27.102 --> 00:38:31.635
Each shot could last up to...

00:38:32.405 --> 00:38:33.836
30 seconds.

00:38:34.016 --> 00:38:36.527
And that has everything
to do with ‘Colombia 70’,

00:38:36.558 --> 00:38:39.909
the shots lasted as much
as you could wind it.

00:38:40.234 --> 00:38:43.242
If one had wanted to or planned

00:38:43.532 --> 00:38:46.997
to do a shot of about a minute,

00:38:47.380 --> 00:38:50.651
well, you couldn\'t,
it simply wasn\'t possible.

00:38:51.085 --> 00:38:56.562
Every time one would
hear the ticking,

00:38:57.791 --> 00:39:00.872
that would hurt your soul
or rather your pocket.

00:39:02.020 --> 00:39:05.094
Because if nothing would come out of it,

00:39:05.377 --> 00:39:10.023
you would lose all your savings
of a week or two, and so on.

00:39:11.713 --> 00:39:19.906
Chapter 3:
Revealing to the People

00:39:40.630 --> 00:39:44.303
Filming

00:39:56.566 --> 00:40:01.068
on 16mm B&W

00:40:11.723 --> 00:40:15.550
is more than just a technical limitation

00:40:15.866 --> 00:40:19.939
is part of a different aesthetics

00:40:38.434 --> 00:40:40.397
A laboratory was set up.

00:40:44.346 --> 00:40:47.455
We all were behind
the distribution of the material.

00:40:50.899 --> 00:40:56.695
What we did was to develop film
manually at my garage.

00:40:59.819 --> 00:41:02.292
So that there was the
possibility for people who are

00:41:02.323 --> 00:41:05.807
absolutely marginal,
really outcasts from the world,

00:41:05.832 --> 00:41:08.015
to see a movie.

00:41:11.618 --> 00:41:17.032
There was a trend saying that
great cinema must be recovered,

00:41:19.129 --> 00:41:22.488
the problem is that
we were not doing great films.

00:41:29.557 --> 00:41:35.289
‘The options are:
suffering for the films we couldn\'t do

00:41:37.425 --> 00:41:43.624
or making the films
that broke our neck’.

00:41:44.095 --> 00:41:47.862
The problem is that
black and white died out.

00:41:47.978 --> 00:41:52.417
And then came video and
filmmaking died, on 16mm film.

00:41:54.345 --> 00:41:56.951
And it was too expensive
filming in color,

00:41:57.109 --> 00:41:59.077
especially the processing,

00:41:59.344 --> 00:42:03.894
since we couldn\'t do that in an artisanal
manner like we did with black and white.

00:42:03.960 --> 00:42:08.888
That\'s when the crisis of the political
cinema began, from that moment.

00:42:15.141 --> 00:42:18.375
- So, where are we going now?
- I don\'t know...

00:42:18.971 --> 00:42:20.774
We were we?...

00:42:20.879 --> 00:42:23.677
Maybe, there seems
to be more light over here

00:42:23.894 --> 00:42:24.864
Yes, over here.

00:42:24.902 --> 00:42:28.358
There\'s a restriction,
electricity is very expensive.

00:42:30.937 --> 00:42:32.279
These are the film projectors…

00:42:32.327 --> 00:42:34.715
look, this one is a \'Bell and Howell\'
like the one, we used to have...

00:42:34.770 --> 00:42:35.569
Yes.

00:42:40.653 --> 00:42:44.272
I\'m not sure if this
was the ICODES copier.

00:42:44.811 --> 00:42:47.859
This very well may
be the ICODES copier.

00:42:50.588 --> 00:42:56.188
Man, it\'s great to see the footage we
filmed with Pepe in that march in Cali...

00:43:03.069 --> 00:43:04.082
Focus!

00:43:05.209 --> 00:43:07.758
And it has dust in the thing...

00:43:12.831 --> 00:43:15.107
Easy, brother, right there!

00:43:18.998 --> 00:43:21.397
Well, it doesn\'t look too bad,
right?

00:43:22.214 --> 00:43:26.518
- No.
- It gives an air of \'under-development\'.

00:43:26.659 --> 00:43:28.337
- Yes.
- Quite serious.

00:43:32.747 --> 00:43:37.783
Sunday, April 19th, 1970;
Elections in Bogotá

00:43:51.596 --> 00:43:56.982
Documentarists scattered all over the streets
on election day

00:43:59.422 --> 00:44:01.781
‘Belisario is Necessary!’

00:44:03.125 --> 00:44:08.696
This is the youth that should
rule Colombia in ten years,

00:44:09.149 --> 00:44:11.360
unless something else happens.

00:44:11.396 --> 00:44:16.473
And that\'s been our understanding
of politics,

00:44:16.971 --> 00:44:23.360
that after voting you look at
the ink on your fingertip

00:44:24.151 --> 00:44:27.383
one is red, the other blue.

00:44:27.784 --> 00:44:32.191
I believe that blue is for
conservatism and as I always say,

00:44:32.237 --> 00:44:34.738
the red one must be
for us liberals, always.

00:44:36.143 --> 00:44:40.776
Otherwise, I have never known parties other
than those two, like on the election day.

00:44:42.785 --> 00:44:45.873
For the first time
in many years

00:44:45.898 --> 00:44:50.560
the Colombian people
filled the Plaza de Bolivar

00:44:50.833 --> 00:44:57.140
in a tribute of admiration and gratitude
towards the future Colombian president.

00:44:58.443 --> 00:45:00.413
Without planning on it,
they captured the country\'s memory

00:45:00.444 --> 00:45:03.458
The Election Fraud

00:45:19.097 --> 00:45:21.571
‘Lopez Is Hope’ (Liberal)

00:45:27.807 --> 00:45:29.646
‘SSafety With Alvaro’ [Conservative)

00:45:50.190 --> 00:45:51.160
Voting Booth No 101

00:45:54.273 --> 00:45:58.938
Democracy.
Destroy Subversion!

00:46:25.307 --> 00:46:28.767
‘NO, this is not democracy!’

00:46:29.285 --> 00:46:33.994
Then, what is democracy?

00:46:58.684 --> 00:47:02.466
Curfew and State of Siege
Pastrana Claims his Victory

00:47:13.963 --> 00:47:16.343
This is on April 20th already.

00:47:23.950 --> 00:47:29.024
But this time we were all on Main Street
and Jimenez, filming...

00:47:37.101 --> 00:47:40.508
All these high angle shots
were filmed by Pepe.

00:47:42.129 --> 00:47:44.664
And you filmed those,
maybe, those from below.

00:47:44.689 --> 00:47:46.620
Yeah? I no longer remember anymore.

00:47:49.530 --> 00:47:52.386
No doubt this footage was shot by you
any day of the week.

00:47:52.411 --> 00:47:53.210
Is it?

00:47:57.630 --> 00:48:02.421
Chris Marker used those images to
make ‘Le fond de l\'air est rouge’

00:48:04.141 --> 00:48:10.263
For the first time
we did counter-information

00:48:10.589 --> 00:48:15.007
of the democratic Colombian
process, don\'t you think?

00:48:15.280 --> 00:48:18.061
‘Colombia Despises the Class Struggle’

00:48:21.658 --> 00:48:25.178
Bogota\'s people had taken over
the streets protesting the fraud,

00:48:25.717 --> 00:48:28.518
and there was no movement
to lead those efforts.

00:48:28.827 --> 00:48:34.027
We all took to the streets to protest
against the election fraud,

00:48:35.264 --> 00:48:37.095
and we filmed…

00:48:37.180 --> 00:48:40.133
we filmed a lot of things…

00:49:19.023 --> 00:49:23.673
Well, you can definitely tell from my movies
that I never went to film school, right?

00:49:23.999 --> 00:49:27.605
I just want to be clear...

00:49:28.998 --> 00:49:36.471
It was all a product
of necessity and experimentation…

00:49:36.559 --> 00:49:38.075
And the will!

00:49:38.769 --> 00:49:44.210
Naturally, since I didn\'t know
or studied film,

00:49:44.976 --> 00:49:50.878
I had to invent the methods...

00:49:52.784 --> 00:49:55.854
... reality itself gave me the know-how.

00:49:56.420 --> 00:50:00.698
Making fiction was practically
impossible, it was too expensive.

00:50:01.408 --> 00:50:03.461
It was too difficult.

00:50:04.048 --> 00:50:07.012
I would say that
it was foolish, as well.

00:50:07.419 --> 00:50:09.932
And the films are there to prove it,
right?

00:50:10.092 --> 00:50:11.814
It\'s not only an adjective.

00:50:11.852 --> 00:50:15.052
On the other hand,
documentary filmmaking

00:50:15.272 --> 00:50:19.718
was a direct participation in politics.

00:50:22.013 --> 00:50:29.673
There definitely has to be a
masochistic component to making films.

00:50:30.400 --> 00:50:36.095
Any kind of film, but this one
was more openly masochistic.

00:50:36.860 --> 00:50:40.705
My stance, when I shot
‘What is democracy?’,

00:50:41.055 --> 00:50:43.430
was definitely a very clear
political stance,

00:50:43.565 --> 00:50:46.562
it was an anti-electoral.

00:50:46.867 --> 00:50:50.195
- Yes
- Absolutely, 100%.

00:51:14.912 --> 00:51:18.325
We worked fine during 1970,
we organized ourselves

00:51:18.364 --> 00:51:20.276
and we filmed that.

00:51:21.697 --> 00:51:25.779
But we couldn\'t hold on to that
as a group.

00:51:30.984 --> 00:51:33.747
There could be
several reasons,

00:51:33.837 --> 00:51:37.093
reasons of… repression.

00:51:37.939 --> 00:51:39.934
Because there was,
without a doubt.

00:51:41.285 --> 00:51:42.917
Hard and soft repression.

00:51:52.890 --> 00:51:56.686
Gabriela Samper worked at the
Agustin Codazzi geographical Institute,

00:51:56.930 --> 00:52:01.135
and Carlos Alvarez collaborated
with the ELN guerrilla.

00:52:01.249 --> 00:52:03.950
So, Gabriela handed Carlos some maps...

00:52:04.724 --> 00:52:12.064
I even hid those maps,
I had them at home for some time.

00:52:12.160 --> 00:52:18.155
‘Protest over filmmakers detention’

00:52:18.257 --> 00:52:23.947
During these years, in Latin-America,
filmmakers even got to

00:52:24.094 --> 00:52:27.883
film their own deaths

00:52:58.755 --> 00:53:02.351
The Chilean coup against Allende,
so many people died there, so many…

00:53:02.729 --> 00:53:08.641
The cinematographer of Patricio Guzman\'s
work, ‘The Battle of Chile’,

00:53:08.815 --> 00:53:12.113
Jorge Müller Silva,
he was disappeared.

00:53:12.701 --> 00:53:14.308
They killed him.

00:53:14.948 --> 00:53:17.720
I believe they killed
at the stadium.

00:53:19.608 --> 00:53:21.980
The death of ‘El Flaco’ really hurt me,

00:53:22.916 --> 00:53:25.892
because I identified
myself with him a lot,

00:53:25.892 --> 00:53:28.756
we were practically
doing the same things...

00:53:33.134 --> 00:53:37.718
So, it was very sad to see how
they were murdered, disappeared,

00:53:37.972 --> 00:53:40.503
or died being tortured
like Gleyzer...

00:53:40.905 --> 00:53:44.525
Yes, those were definitely,
very hard times, very hard indeed.

00:53:50.044 --> 00:53:54.987
{\\an1}‘Free Carlos Alvarez’
Oberhausen Film Festival, 1973

00:53:55.110 --> 00:53:58.054
Being in jail for a year and
a half is not a secret, right?

00:53:58.139 --> 00:54:00.833
Besides, it was published
in the newspapers,

00:54:02.040 --> 00:54:10.706
but it\'s a story that must
be told in great detail.

00:54:12.015 --> 00:54:19.811
Yes, I was detained,
July 5th, 1972.

00:54:20.683 --> 00:54:22.880
I was jailed for a year and half,

00:54:22.927 --> 00:54:24.954
I did time in six different Colombian jails,

00:54:25.000 --> 00:54:27.396
I went before two martial courts,

00:54:27.623 --> 00:54:31.992
and I was released
mid-January of 1974.

00:54:32.970 --> 00:54:37.765
I was charged with all sorts of things,
including, making subversive films.

00:54:37.914 --> 00:54:43.986
There is no real logical explanation,
there is a political explanation.

00:54:44.447 --> 00:54:50.638
But a really long one,
and that is all over now.

00:55:58.082 --> 00:56:01.186
Someday, the time will come
to organize ourselves better,

00:56:01.211 --> 00:56:04.866
and make them pay for all
the crimes they commit.

00:56:17.362 --> 00:56:22.490
They were representing those forms of
domination from that magical universe.

00:56:22.762 --> 00:56:28.468
The landlord who is in partnership with
the devil and gets richer due to that.

00:56:28.587 --> 00:56:31.755
It turns into symbols for them,
symbols…

00:56:32.473 --> 00:56:35.237
since the Spanish conquest up until today.

00:56:42.867 --> 00:56:47.034
That must be known,
this is our history and must be known.

00:56:51.746 --> 00:56:56.268
Because there hasn\'t been anyone
writing about our situation.

00:57:43.555 --> 00:57:46.720
How complex and long
is the process

00:57:46.750 --> 00:57:50.780
by which an indigenous group goes from
submission to organization.

00:57:51.648 --> 00:57:52.639
And on the other hand,

00:57:52.701 --> 00:57:55.310
it also gave us the opportunity

00:57:55.335 --> 00:57:59.449
for something we were interested in
for long at the time,

00:57:59.695 --> 00:58:04.632
which was trying to go beyond
traditional documentary...

00:58:04.850 --> 00:58:08.508
which has generally ignored
these levels of reality…

00:58:09.313 --> 00:58:12.875
has forgotten them…

00:58:37.806 --> 00:58:43.636
They discovered that filming
is not enough

00:58:43.714 --> 00:58:47.770
you have to walk the walk

00:58:52.403 --> 00:58:56.098
The group bonded a lot once
they realized the importance of film

00:58:56.154 --> 00:58:57.564
and the work of the movie.

00:58:57.616 --> 00:59:00.624
An indigenous commission was
designated in different co-operatives

00:59:00.657 --> 00:59:03.044
to advise us during our work.

00:59:03.153 --> 00:59:04.961
They saw everything we filmed.

00:59:05.059 --> 00:59:09.860
They came to the cutting room and saw
the first six-hour version of the film.

00:59:10.162 --> 00:59:12.197
We worked with them on the editing

00:59:12.486 --> 00:59:17.389
There was a strong interaction between
the filmmakers and the advisory group.

00:59:20.329 --> 00:59:24.058
It\'s well understood that
the Devil doesn\'t exist in person,

00:59:25.616 --> 00:59:30.052
but we also know that
Metaphysics exists as well.

00:59:30.654 --> 00:59:35.982
The only way to solve these problems is
for the people to get organized a bit more...

00:59:38.125 --> 00:59:39.812
And they were, kind of, leading us…

00:59:39.876 --> 00:59:44.310
I began to better understand
how they conceived images.

01:00:07.982 --> 01:00:10.137
Look, it was a different aesthetics...

01:00:16.399 --> 01:00:21.351
Each thing you showed was framed
within a communitarian logic,

01:00:21.519 --> 01:00:22.809
a collective ‘I’.

01:00:27.055 --> 01:00:29.505
It\'s a different viewpoint.

01:00:38.838 --> 01:00:41.155
They use to sing a song that said:

01:00:41.222 --> 01:00:45.379
‘Now it\'s one that seems like many,
now its many that seem like one’.

01:00:49.843 --> 01:00:55.178
In the Cauca Region everyone took part:
women, children, elders, dogs…

01:00:55.464 --> 01:00:56.919
Everybody participated.

01:00:56.955 --> 01:01:01.832
And the whole community
worked the land.

01:01:02.121 --> 01:01:08.526
It was like a party. They felt like owners,
They had the first crop.

01:02:15.153 --> 01:02:17.668
That\'s why we have the seven commandments...

01:02:17.706 --> 01:02:22.576
We went through a lot.
Holy Mary!

01:02:22.942 --> 01:02:25.786
I could not sleep.
I was so scared.

01:02:25.811 --> 01:02:30.007
The dead talk to us.
Antonio has been over there.

01:02:37.981 --> 01:02:43.576
With so many deaths we count nowadays, we keep
on talking with the spirit of the deceased.

01:02:44.615 --> 01:02:45.960
We have to...

01:02:48.539 --> 01:02:52.243
We make it up or remember it
for memory\'s sake.

01:02:56.377 --> 01:03:00.899
But archives are vital,
really vital!

01:03:12.040 --> 01:03:14.229
What would you do
without an archive?

01:03:16.993 --> 01:03:19.790
Can you imagine a
country without memory?

01:03:25.656 --> 01:03:34.613
Chapter 4:
Setting the Film in Motion

01:04:04.860 --> 01:04:08.584
Carlos Alvarez. I\'m very careful with saying
that any past time was better.

01:04:32.134 --> 01:04:36.920
I would truly like...
being invisible.

01:04:54.465 --> 01:05:00.149
Who will take care tomorrow of...

01:05:07.502 --> 01:05:12.083
our images of the present?

01:06:01.002 --> 01:06:07.074
Film exists

01:07:10.573 --> 01:07:14.730
Set in motion, Scratch, Recover,
Take care, Confront

01:07:14.802 --> 01:07:26.593
making the archives a living gesture
out of

01:07:33.128 --> 01:07:35.946
You\'ve been working in the film
industry for more than forty years

01:07:36.032 --> 01:07:39.280
Martha Rodríguez. Fifty years, really,
I\'m 83 right now.

01:07:39.630 --> 01:07:40.997
How old were you when you started?

01:07:41.897 --> 01:07:44.388
I started making ‘Chircales’
when I was 31 years old.

01:07:44.871 --> 01:07:45.730
Fifty years…

01:07:45.887 --> 01:07:46.744
Yes.

01:07:47.929 --> 01:07:51.947
What is the motor that propels
you to keep making films?

01:07:54.526 --> 01:07:56.697
You haven\'t done anything
other than making films...

01:07:56.900 --> 01:08:00.820
Look, who doesn\'t feel committed
when you see indigenous peoples

01:08:00.914 --> 01:08:04.764
being murdered,
repressed, marginalized...

01:08:04.966 --> 01:08:06.330
What is war?

01:08:06.574 --> 01:08:10.260
How parents lose their
children violently

01:08:10.284 --> 01:08:12.749
and have to continue
their struggle.

01:08:13.120 --> 01:08:15.816
The indigenous people\'s bravery,

01:08:15.841 --> 01:08:19.097
their endurance to resist
and to not disappear...

01:08:19.347 --> 01:08:20.728
There is always a reason.

01:08:20.783 --> 01:08:24.772
One cannot just say, Colombia is such
a beautiful country and all is well.

01:08:25.006 --> 01:08:28.470
No dear, I continue,

01:08:29.392 --> 01:08:30.978
I keep on it.

01:08:31.419 --> 01:08:33.763
I\'m still an outsider...

01:08:35.639 --> 01:08:36.691
An old one, right?

01:08:36.880 --> 01:08:42.434
Being part of the big system
simply never interested me...

01:08:42.573 --> 01:08:44.875
I don\'t know why…

01:08:46.134 --> 01:08:48.609
and I don\'t regret it, either.

01:08:49.100 --> 01:08:51.784
Which could also be good, right?

01:08:51.847 --> 01:08:55.305
And I have to hurry up, right?
Because the years go by...

01:08:55.855 --> 01:09:01.176
I\'ll turn 74 in a month,
so it\'s better not to...

01:09:01.520 --> 01:09:06.791
That\'s why I\'m interested in doing this kind
of interviews with a bunch of old folks…

01:09:07.002 --> 01:09:09.244
I mean the 85 year-old ones…

01:09:10.460 --> 01:09:14.206
We have to hurry up and do them,
because people die.

01:09:14.300 --> 01:09:17.273
How long do you think it will take you
guys to put this documentary together?

01:09:17.324 --> 01:09:18.442
Any idea?

01:09:21.922 --> 01:09:25.176
‘All the Young People
Want to Make Movies’

01:09:25.536 --> 01:09:27.803
‘Cinematheques decolonize’

01:09:28.234 --> 01:09:30.459
So, I think it\'s the times,

01:09:30.608 --> 01:09:33.786
and the films that are
made also correspond

01:09:34.016 --> 01:09:36.413
to the needs of that specific time.

01:09:36.610 --> 01:09:39.412
‘Notes on film of the early 70s’

01:09:54.614 --> 01:09:57.997
An artisan film which
I edited as you saw,

01:09:58.098 --> 01:09:59.372
with that moviscope.

01:10:00.417 --> 01:10:02.715
And they told me:
‘A classic, such a classic!’

01:10:02.839 --> 01:10:06.218
I mean, since when?

01:10:07.236 --> 01:10:10.554
When did that happen?!
Since it was done merely artisanal.

01:10:27.145 --> 01:10:29.077
We can all make films, right?

01:10:29.912 --> 01:10:30.921
And nowadays, well...

01:10:30.946 --> 01:10:33.822
You can do it even
with a cellphone.

01:10:41.430 --> 01:10:43.947
All filmmaking is political.
All!

01:10:44.026 --> 01:10:45.305
Even that from the right-wing.

01:10:55.580 --> 01:10:59.433
And effectively,
from the films of the 1970\'s to this day,

01:10:59.458 --> 01:11:01.804
we haven\'t been able
to change the world.

01:11:02.204 --> 01:11:07.010
It wasn\'t like a film were to
change the world, but you wanted to...

01:11:07.319 --> 01:11:10.445
Why can\'t you say that,
because you\'re being too naïve.

01:11:10.494 --> 01:11:11.836
Yes, it was naïve.

01:11:11.868 --> 01:11:14.633
‘Oh, that is a bit dumb’.
Well, yes, it was a bit dumb,

01:11:14.658 --> 01:11:16.592
but it\'s honest, right?

01:11:17.093 --> 01:11:18.446
And it\'s cool, right?

01:11:18.762 --> 01:11:23.025
It was cooler to say about yourself,
that you still believe

01:11:23.334 --> 01:11:26.231
that in this world, people are shitty
and that it must be changed.

01:11:31.245 --> 01:11:34.317
And everything goes,
I believe that, man!

01:11:34.817 --> 01:11:37.068
I\'m not a purist, no.

01:11:46.377 --> 01:11:47.955
It was such a wonderful school.

01:12:16.477 --> 01:12:24.747
Film exists because it resists
to disappear

01:12:25.574 --> 01:12:30.486
THE FILM JUSTIFIES THE MEANS

01:12:46.854 --> 01:12:51.988
In addition to the participation
of the filmmakers and their documentaries.

01:14:55.284 --> 01:15:03.085
This collective work would not be possible either without the women,
men, and communities that inhabited these images.

01:15:03.163 --> 01:15:09.135
Their voices and struggles will continue coloring
our frames and the memory of the country.

01:18:34.169 --> 01:18:43.133
Subtitling: VIDEOACTIVIDAD.
Bogotá, Colombia. 2021