Laura Mora manages in ‘Los reyes del mundo’ to combine certain documentary rhetoric with the rhymes of abstraction to describe the contradictions of Colombia.
One of the most stimulating ideas of ‘The Kings of the World’ is to move to the forgotten rural territory of Colombia a story that the codes of Latin American social realism identify with the sharp edges of a city (in this case the symptomatic Medellín) crushed by violence. This decision is consistent from a political point of view – that is where the FARC war was fought – but it also makes it possible for the journey undertaken by these five ragazzi di vita to settle in an inherited land acquire a mythical tone, progressively phantasmagorical.
The lyrical outbursts of Laura Mora’s excellent film –after debuting in 2017 with the no less remarkable ‘Kill Jesus’– are not intended to ‘romanticize’ this return to the origins, which has a lot to do with the impossible search for El Dorado, nor not to trade in the aesthetics of poverty, but to promote its condition as a fable that knows how to combine certain documentary rhetoric with the rhymes of abstraction to describe the contradictions of a country that is torn between the wild and the mysticalbetween the nostalgia for a possible future and the horror of a wounded memory.
For lovers of heterodox social cinema
Address: Laura Mora Ortega Distribution: Carlos Andres Castañeda, Davison Florez, Brahian Acevedo Country: Colombia Year: 2022 Release date: 17–3-2023 Gender: Drama Script: Maria Camila Arias, Laura Mora Ortega Duration: 111 min.
Synopsis: A story about disobedience, friendship and the dignity that exists in resistance. Rá, Culebro, Sere, Winny and Nano. Five boys from the streets of Medellín.
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