Sunday, March 19, 2023, 07:59
I like this Concha de Oro from Zinemaldia 70. I like it because it is signed by the author of ‘Matar a Jesús’, that autobiography of hers about her murdered father. I like it because until yesterday I thought of Laura as a very urban filmmaker. So much so that the first scenes of ‘The Kings of the World’, those of that bravely choreographed machete fight, come to remind me, for no coherent reason, of titles like ‘The night belongs to us’. And yet, when this Medellín-born film graduate in Melbourne meets David Gallego, the cinematographer of ‘El abrazo de la serpiente’, whose camera has entered further into the other jungle, into the unpaved, into the exuberant greenery , in the non-places where an inhabited-uninhabited house suddenly appears, it turns out that his ‘The Kings of the World’ becomes a road-movie that goes into places that are so beautiful, they are terrifying.
The Kings of the world
Address:
Laura Mora OrtegaScript:
Maria Camila Arias, Laura MoraPhotography:
David GallegoMusic:
Leonardo Heiblum, Alexis RuizInterpreters:
Carlos Andres Castañeda, Davison Florez, Brahian AcevedoNationality:
Colombia, 111 m.Cine:
True
I like that the references throughout its hundred-odd minutes of footage are so diverse and crazy. Because right now you think about the ‘Goonies’ and then about ‘Lord of the Flies’. Because for a moment you remember ‘Count on me’ and for others you don’t forget I don’t know, Erendina or some of the creatures of magical realism. Suddenly the images created by Angelopoulos shake your memory neurons. And you think of that couple of clandestine ‘gravity bike’ challenges (downhill at full speed with a modified bike) that you witnessed one afternoon. Those boys who take refuge in a dark and cozy brothel and dance quietly with wise harlots, that Ra (who represents justice), Davy (the mystic), Winny (the revolution), Nano (dignity) and Culebro (rage). . I like this film so rough, so loyal, so old, so young, that yes, thank you God for giving it to us.