Rodrigo Dimaté

Alex doesn't go to school and spends his day hanging around, seemingly free, doing what he was told not to do; Steven tries to hold down a job, but there's always a friend, a party, a problem; Kevin wants to escape the drugs and violence. Three young men face the harshness of Bogotá life while they wait, amid continuous failures, for a miracle.

Nestled in the mountains of Bogotá, an amateur theater group rehearses and stages the most famous of all plays, Oedipus Rex. Its members are musicians, actors, local artists, and some of them, users of crack cocaine. Testimonies about drugs, family, and the neighborhood—voices, hands, and faces, sometimes distant, sometimes fragile—contrast with the atmosphere of drums and incandescent lights of the theatrical creation. In the city's hills, Oedipus Rex is not an ancient play; it is a question about destiny, about the possibility of taking control of one's own life.

In the Argentinian prison where he's serving a sentence, Marcos cherishes his smartphone, which he uses to keep in touch with family and loved ones. It's also the device with which, at the request of filmmaker Toia Bonino, he documents his daily life. His video recordings and back-and-forth voice messages with Bonino form a precious link to the outside world.

A series of suicides among youths who had to travel far from home to go to school, shocked their indigenous community in the Colombian Amazon. They are different cultures in the frantic friction of our time, it is a generation of young people born from the meeting of both cultures who are hanging before the mirages of a foreign world.