The Macondos, Colombia’s Academy Awards, were held over the weekend, and Laura Mora’s “Killing Jesus” was the big winner, scooping five awards, including best picture for a Colombian feature.
The win caps off a whirlwind 14 months since the film’s 2017 Toronto world premiere and San Sebastian European premiere, where it won the Eroski Youth Award, Fedeora Award and two special mentions.
A semi-autobiographical film, “Killing Jesus” unspools in Medellin, the base of operations for Pablo Escobar’s cartel, which still suffers reverberations of the violence from his time as the world’s most notorious drug kingpin. Mora used non-professional actors to tell the revenge story of a young girl whose father is gunned down right before her eyes, and who, after a chance encounter with the killer at a nightclub, decides to embark on a mission of revenge.
Diego Ramirez’s Bogota and Cali-based 64A Films, the Colombian...
The win caps off a whirlwind 14 months since the film’s 2017 Toronto world premiere and San Sebastian European premiere, where it won the Eroski Youth Award, Fedeora Award and two special mentions.
A semi-autobiographical film, “Killing Jesus” unspools in Medellin, the base of operations for Pablo Escobar’s cartel, which still suffers reverberations of the violence from his time as the world’s most notorious drug kingpin. Mora used non-professional actors to tell the revenge story of a young girl whose father is gunned down right before her eyes, and who, after a chance encounter with the killer at a nightclub, decides to embark on a mission of revenge.
Diego Ramirez’s Bogota and Cali-based 64A Films, the Colombian...
- 11/19/2018
- by Jamie Lang
- Variety Film + TV
Credit where it’s due: Few films have done more to unite the international film community than “Zama.” The minutes-long opening titles list over 20 different production companies and regional supports. The nominally Argentinian film is a joint venture between nine other countries as well, and the end credits name figures as diverse as Danny Glover, Pedro Almodóvar, and Gael Garcia Bernal among the many other who jumped on to help this project through a troubled, many year production. Finally complete, Lucrecia Martel’s film promises to be significantly more divisive.
Technically an adaptation of Antonio Di Benedetto acclaimed modernist novel, “Zama” reads just as much like an open declaration of war against the line that separates form and content. The source text told the story of an 18th century magistrate driven to madness while waiting for his next post; the film forces the viewer to go mad right there with him.
Technically an adaptation of Antonio Di Benedetto acclaimed modernist novel, “Zama” reads just as much like an open declaration of war against the line that separates form and content. The source text told the story of an 18th century magistrate driven to madness while waiting for his next post; the film forces the viewer to go mad right there with him.
- 8/31/2017
- by Ben Croll
- Indiewire
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