Because develop spaces for documentary film grows in Colombia is an important management, The Digital Tyrannosaurus conducted this interview the few directors who bring the renowned international festival of documentary ‘Ambulante’, that all people can enjoy free during August and September 2014, four of the most important cities: Bogota, Medellin, Barranquilla and Cartagena.
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………………………………………………………………………………………………………………………………………………………… By: Digital T-Rex …………………………………………………………………………………………………………………………………………………………
Ambulante is a documentary film festival that created the Mexican actor Gael García and Diego Luna, Pablo Cruz and Elena Fortes, which held its first edition in Colombia thanks to the management of Camilo Corredor and Camilo Cruz, who kindly bring four weeks of the best documentary film world the country.
The interview is split into two but all the same here: first interview with Camilo Corredor who told us about Ambulante, while with Cruz on the documentary, its national expansion and projection.
The Tyrannosaurus Digital: How did Ambulante to Colombia?
Camilo Corredor: Ambulante began 10 years ago in Mexico for a project Gael Garcia Bernal, Diego Luna and Diego Cruz as an idea to create and project films that create a reflection on the public. After these 10 years, the organization has several programs in addition to the festival, expanded its borders within which one day met the director in London and ask the question: what if we Ambulante to Colombia? To which he replied: Sure, let’s do it. That is a bit of Ambulante birth in the country.
ETD: Why is it important that these spaces are opened in the country?
CC: We do what we want as a non-profit organization is to be an independent entity with an offer that support initiatives documentary film, because many of those that exist are either very local and very state. And what we intend through Ambulante Colombia, is to create a cool space to carry national level.
ETD: Why is it free?
CC: Ambulante differs from many festivals in the sense that it is a festival that is not competitive and is not done for the industry. Many of the festivals are focused on building relationships and productions while Ambulante focuses primarily on the public.
ETD: What is the importance of taking them to places like Ciudad Bolivar in Bogota and other spaces considered marginalized in Colombia?
CC: Precisely because it is a festival that fits and looks for all audiences. We do not want is to take him to certain places or certain public because our idea is to create spaces for meeting with people who do not know the film and so to discover. Our motto is’ Discover, share and transform “.
We want people to discover documentary films, share their experiences and transform your look from seeing new experiences.
ETD: Why must see documentary film?
CC: is not there to go see it but actually what we propose with Ambulante is to look at it is an experience. This festival is aimed at those who like the experience of watching good movies, good stories and know things we do not know what a topic that fascinates us so much and which we want to share.
ETD: What kind of documentary we will see in this first edition of Ambulante Colombia?
CC: The bulk of curating realize it Ambulante supported by Mexico and all the work they perform works by choosing different festivals around the world. But on our side component releases that are not shown in Mexico and we want to have here, likewise national documentaries that have not been seen in the country and others who left have not seen again.
ETD: What is the strong regarding gender?
CC: Everything. What we want is to break a bit with the stigma that documentary film is very serious or very deep or very complicated. There are films like ‘the act of killing’ carrying a very complex development and an important theme, but others are very casual and important story that are very well told. Everything will be an experience to laugh, and finally enjoy a good time.
On the other hand talking to Camilo Cruz, who has a long career as a director, producer, distributor and currently judge Fund projects Film Development (FDC) these were the questions answered us
Digital Tyrannosaurus: What does a documentary to become exhibited by an international channel?
Camilo Cruz *: It is very difficult to know because it depends very much on display where. The first thing to consider are universal stories in terms of narrative. I think that seek stories that despite having components that are local universality is important because through there can be more easily reach the international market. On the other hand the channels are required to have certain content and then if you want to aim at something specific you must know to what. Focus towards that’s fine too.
In the case of a documentary author because it occurred and has an idea and narrative and believes it has a good concept, reach the international market is more difficult but you can.
In this game there are no rules, except one that imposes television, which is the most important stage for documentaries, but today the internet and VOD is changing that but seek to be as universal as possible.
ETD: Regarding the sale documentarians should think of a format that is easier for distribution?
CC *: On television there is a universal format that are 52 minutes, but in general terms for festivals can think of that go above 70. But the short documentaries seem fascinating and in terms of marketing is a complicated issue because They do not find their space, but that is very diverse. But there is one format, the most viable is always aim at 52 minutes.
ETD: Having the experience of being sworn Film Development Fund in the documentary category, how has seen the growth of this way of counting in Colombia?
* CC: I was positively surprised to see what I saw documentaries because there is a transformation in the narrative and few attempts to be more risky. You can even in those who did not like to give the value that they are at least trying to do something different and explore such new narrative is very important because everyone is discovering its own language.
I think one of the things I like best is to find directors who have their own stamp and signature and I think that is through exploration, to develop technical and a little their way. I saw that in the documentaries that are present in this edition of the FDC. It is indicating that the industry in Colombia is on track.
ETD: Are there new issues that documentary filmmakers are exploring?
CC *: As the theme of the conflict, the drug is always there because it is a reality that is very difficult to escape because we implicitly and as long that is going to keep giving because it is a very important reality of our country, but despite that I have seen transformation.
Within narrative histories are becoming lighter, more constructive, they are looking for work a lot with music and from there a major transformation and it is on the right path.
ETD: What is the best advice to continue making documentaries in Colombia?
CC *: The best advice is to ignite their phones, tell stories, draw them, put them on the internet without fear, without seeking resemble anyone, just trying to discover through their own narrative technique. Remove the fear and do, the idea everything is done, done and done. My best advice is to just do it.
Ambulante, cine documental para los colombianos by El Tiranosaurio Digital is licensed under a Creative Commons Reconocimiento-NoComercial 4.0 Internacional License.