Big Bridge

Machado, a Colombian living in France, is hired to return to his hometown of Medellín and steal an emerald. During the risky execution of his plan, he becomes entangled in a series of events that lead him to reconsider the ultimate goal of his mission.

Pinky is on the run. At night the empty streets smell of the apocalypse and the city seems to be on fire. Narcotics swirl through the veins and the air. Having freed himself from the clutches of a sect led by a certain “padre” and determined to take his fate into his own hands, he is now holed up in an illegal T-shirt factory, surrounded by paints, slogans and heat presses. Pinky is looking for the light at the end of the tunnel, but ghosts are breathing down his neck. He is running for his life, and Colombia is on fire. But Colombia is alive.

On 6 March 1906, four men were executed for the attempted murder of Colombian president Rafael Reyes. The event was photographed, and the photos were later used for a fictionalised film on the failed coup. From then on, cinema in this South American country has been inextricably linked to its violent history. Moving images have been used for historiography, propaganda, disinformation and to instil unity in a nation that refuses to come together. Falsos positivos, murdered youths disguised as guerrillas by the army to simulate military success, are a common element.

A voice that claims to be from a hippopotamus. A voice that doesn’t understand the perception of time. Pepe, the first and last hippo killed in the Americas, tells his story with the overwhelming orality of these towns.

From the very beginning, Simón Velez’s film instils a sense of dramatic tension: moving from a sudden crescendo and the grainy sounds of nervous electro noise to a bucolic archery scene between two men, and the texture of analogue film.

Jairo, an ice cream seller, finds a valuable pre-Columbian sculpture that he sells for a motorcycle and some money.