After the screening at the Toronto International Film Festival and in conjunction with the San Sebastian Arch, diverse Exclusive access has been granted to the trailer for “La Jauria,” the first feature-length effort from award-winning Colombian director Andres Ramirez Pulido (“El Edén”).
The film follows the deep journey of two separated friends, Elich (Jhojan Estiven Jimenez) and El Mono (Maicol Andrés Jimenez), who share an uncomfortable reunion after being sent to a remote and unconventional rehab center to serve out their sentences. a crime. There, they grapple with accountability, moral fortitude, and redemption. This raises questions about the unrestrained nature of the corruption looming in the thick, loose atmosphere.
Produced by Paris-based Alta Rocca’s Jean-Etienne Brat & Lou Chicoteau along with Johana Agudelo Susa and Pulido’s Valiente Gracia, the line naturally folds into the landscape with visually distressing scenic textures that contrast with the ethereal sound.
“Since writing the script, we have tried to make the film not only audible and seen, but also felt,” said Pulido.
“Some of the elements that I decided to explore, from an aesthetic point of view, were the spatio-temporal ‘off-screen’, where sound plays a very important role in my film, creating a captivating atmosphere that immerses the viewer in the universe.”
The trailer starts off as a ramshackle pool, full of debris, sitting undisturbed. With a slow burn, the young men decorate the scene like adornments as they divide their days between manual labor and meditation.
The oppressive and heavy climate is depicted on screen by furrowed brows, hard breathing, and sweat dripping from every pore. Scenes are eerily dark and stagnant, occurring largely on the basis of neglected property.
Illich and El Mono navigate their feud. When one takes responsibility, trying to move on from atrocities, the other provides a simple reminder of the indifference it would take to commit such a crime in the first place.
The finding is related to sweeping disturbances of the natural habitat that traps boys. From the ethereal to the foreboding, the raw sounds of insects, birds and waterfalls, alluding to the subjects sitting below the surface, are preserved far from petty speech and discipline.
la guria
“Music is the bridge that leads to the unseen and the heavenly in the film. That is why I worked on the original music with Pierre Despres, he is a very young and talented French musician,” Pulido commented.
“We discovered that with angelic voices and very low and deep voices, we can evoke what happens not only inside the characters, but what happens outside the frame, and the viewer does not see it,” he added.
“El Jauria” screens in the Horizontes Latino district of San Sebastian along with 11 other projects, including Manuela Martelli’s Cannes “1976” and “Charcoal” by Carolina Markowicz. The film will run at the Biarritz and Busan International Film Festivals. The primary cast was rounded off by Miguel Vieira (Alvaro) and Diego Rincon (Godoy), with global sales managed by esteemed French outfit Pyramide Distribution (“Winter Boy”); Cine Colombia, based in Bogota, deals nationally.
Far from addressing societal roles in motivating deviance, Pulido urges his characters to reveal their motives and examine their inherent constancy.
“One of the aesthetic decisions I made in the feature film was to move away from the hyper-realism expected in Latin American films that deal with social issues and, above all, marginal societies,” he said.
He continued, “It’s a movie that could happen in any country in Latin America, and even in other tropical places in the world. I wanted to expand the story to a more global level.”
The film won the Grand Prix at Cannes Critics’ Week, making Pulido the first Colombian director to win that award for his efforts to dissect human nature in a highly jarring environment without any distraction. Pulido, who champions this turbulent environment, captures the full spectrum of the human spirit as Elich’s mind sinks within, reflecting his true ability to always improve.
“I am a man of faith, and I believe in change. But, perhaps change does not belong to us, but it comes from a touch of compassion, from something beyond,” Pulido said.
“For me, violence is implicit in human nature and transcends any political, social or economic context. That’s why I decided to focus the film on a dialogue toward intimacy, toward the depths of our nature. I wanted a film that allows a dialogue between what the viewer sees and what is inside. I think that’s where the Where real art happens.
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