Siembra
(Siembra)
Ángela Osorio, Santiago Lozano / Colombia / 2015 / 82 min
Locarno Film Festival
Swiss Critics Boccalino Award
Pricing
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Spanish with English subtitles
With Diego Balanta, Inés Granja, Jose Luis Preciado, Carol Hurtado, Jhon Javier Ramos
Turco, a fisherman from the Colombian Pacific Coast, yearns to return to the land he had to abandon three years ago due to armed conflict, along with his son Yosner. He lives in the city, trapped in a profound feeling of rootlessness, while his son seeks a possible future there. The father’s illusion of returning is shattered by the death of his son. Turco is confronted by the pain and powerlessness of his son’s corpse, which has now become one more obstacle to his return to the land. While traditional funeral rites are held, Turco wanders away and ambulates through the city to grieve privately. However, time passes, and he must find a place to bury his son.
Related Subjects
About the Director
Ángela Osorio Rojas and Santiago Lozano Álvares graduated in social communications from the Universidad del Valle in Cali, Colombia. They co-directed several short and medium-length films together, including A Name to a Displaced Man (2003), Calígula (2003), and Portrait of a Hongos Time (2014). Siembra (2015) is their first feature film.
Press
“It escapes any convention. To refer to it in exclusively cinematographic terms is to reduce the profound poetic and aesthetic dimension to conventional and vulgar terms, which its filmmakers clearly challenge.” – Rodrigo Trojillos, CineUropa
Notes on the Film
“Migrants. We live in Cali. And, like most people in this city, we were not born here. We walk its streets and when we look at its people, we recognize characters in transit. Some of them are still looking for a place, for something to hold on to, but they are also recalling an idyllic time, a previous life that remains suspended in time in their places of origin. In Cali, like in other cities in Colombia, the latest wave of migrants is a product of the forced displacement caused by the decades-long armed conflict. The newcomers must face getting to know an urban space, making it their own, and rebuilding their rituals and routines. This exercise in adjustment also obliges the city to adapt to the traditions of this new population, once rooted in the countryside, and sets in motion a “ruralizing” of the city.
Seeds. Death is the human event that leads to the emergence of rituals. Like rooms for a constant eternity: graves, catacombs, pyramids, burials are signals to represent the place of someone who inhabits –even underground- that piece of land. This signaling is an appropriation act of a place, that is celebrated just as, in the act of sowing, a seed land on a particular place. We commemorate death. Thus, we feel that we also belong to the place where we cry for our death.”
– Ángela Osorio, Santiago Lozano, Directors