After The snake's embrace, to Ciro Guerra (Río de Oro, 1981) and her partner Cristina Gallego (Bogotá, 1978), which he now co-directs, they could have opened an abyss: what to tell? How to overcome the film that brought them to the Oscars with new work? It was not like that, because in the bedroom they had a longed for project. "Summer birds [estrenada el pasado viernes en España] It was in our mind for ten years, "Guerra explains." We knew it was the one that would continue to The snake's embrace. Moreover, we believed that Hug… we would gain time to lift the project. But it got so much impact -expected for us, of course, because of its risk and format we had modest expectations-, that we had to wait a year ".
In return Gallego appreciates that the success of The snake's embrace boost the financing of Summer birds. "That allowed us to undertake the film to the size we wanted, very large, years ago, when we dreamed it, neither the Colombian cinematography nor we were prepared to undertake it." We took advantage of our growth to boost us ".
In Summer birds repeated telluric issues already addressed in The snake's embrace. However, the genre is different, Guerra and Gallego are launched at thriller: "We are interested in the approach from the genre, because when we started to collect stories about marimbera bonanza We saw that it was material for a gangster movie, and finally what pushed us was that it happened in a society where women were so strong, "Guerra says The marimbera bonanza occurred between 1975 and 1985, when a stream of dollars entered. In Colombia, for the export of marijuana, the clans and producer families used poor peasants, and in the end the business stained their money, corruption and violence to all social substrates. waiyuú that at that moment held power and that later they were left without a voice. The marimbera bonanza is today close to the myth in the Colombian Caribbean, and that helped us rethink its narrative through a certain magical realism, almost garcíamarquiano, "says Gallego, that is, Scorsese in Macondo." Exactly, and for that we delve into in psychoanalysis, because that unconscious line, more related to dreams and the dead that is what women have in the Waiyuú culture. Because in that culture women are the ones who manage the economic, spiritual and political borders, "the filmmaker concludes.
In Summer birds This separation between violence and savagery of men and spirituality and intelligence is emphasized. "I feel it's a revision of that culture," Gallego explains, "and personal, because that's how he remembered that he commands from the outside and them from the inside." For Guerra, the success of The snake's embrace showed that you can "touch the fiber of the public with stories of deep Colombia". And he explains: "It was in 2015 the movie that was the most box office for his American distributor, for the Australian … All with voices that Colombians have not even heard."
Was there anything that happened in the marimbera bonanza that has not entered the script because the viewer would consider it implausible? "There were many details that overflowed the same story, everything that seems incredible in the film is based on real anecdotes, like the Rolex watches on the donkey," confess both. They also shot the jump from marijuana to cocaine, although they cut it because they felt "that it belonged to another film." That was the beginning of the end, the beginning of the war against drugs and the cloak of silence on a time that only now reaches the screens. "There is a false idea that Colombian cinema has dealt with drug trafficking many times, it is false, and in addition to that, others like Netflix have taken advantage," reflects Guerra. "In short, we wanted to address something new and this is the result."