Written by Belle McIntyre

This first feature film by the Colombian director is a hallucinogenic fever dream told through the eyes of “Pinky” an itinerant outsider living by his wits among society’s outcasts in the most dangerous parts of Medellin. In a world of unregulated sweat shops, and factories making knock-offs, paying low-wages for long hours, It is the harrowing and riveting mind trip of a damaged, cynical, tormented soul trying to break free of his own demons and an unforgiving socio-economic climate which imprisons so many of the voiceless.

Pinky (Luis Felipe Lozando), bearded, long-haired, and charismatic , is also playing himself. This is his story, although it is certainly not revealed in a linear narrative form. Instead we see episodes from Pinky’s past and present, both real and imagined laid out like puzzle pieces waiting to be pieced together. Pinky’s words and thoughts are delivered in the form of voiceovers as Pinky gazes intensely into the camera speaking of his disillusionment and hopelessness with thoughtful poetic eloquence. Pinky has a strong moral center and a deep sense of right and wrong. The presence in a dream-sequence of a character named “Revenge” should not come as too much of a surprise. The two of them travel on a motorcycle in a parallel universe which is underground. I was often reminded of Alejandro Jodorowsky’s work.

The 10 minute opening scene is of Pinky committing a murder, stealing a motorcycle, and finding a place to hide out in a decrepit abandoned warehouse. We have no idea who the victim is or why Pinky killed him. As we get more details about Pinky’s hardscrabble existence and those who had enabled his victimization - his abusive father, tyrannical bosses, and finally a cult leader known as “Father” his actions and motivations begin to gel. Apparently, the “Father” of the cult, who had offered the comforts of community to the dispossessed souls he recruited was pure evil. The unstated price for membership was fealty to “Father” which included participating in illegal activities, some of which were too heinous to define. Once that became clear to Pinky, he knew he had to stop it. Pinky thinks it is a noble act – an assassination not a simple murder. First scene explained. The final scene is accompanied by a quotation from Gonzalo Arango’s poem “elegy to Revenge” which asks “When will Colombia stop killing her sons and make their lives worth living again?”

The committed viewer will be rewarded for not questioning the random-seeming juxtaposition of images in enigmatic and mysterious montages. While they might not relate to actual events, they nevertheless help to create a mood of uncertainly and existential dread. The brilliant cinematography on 16 mm film stock heightens the intensity of the locations revealing decrepitude in all its glory. The best news about this film is that it’s beleaguered protagonist seems to have gotten out of the cycle of hopelessness and is working with Restrepo. (That is not in the film). It is captivating and fully engaging.

Photo Editing by Lenin Arache