Dios y la cumbia del diablo

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Note of intent

We believe in God because we are the Devil. That’s why I want to try to speak with the evil that belongs to us, with our rebel prayers and there, before the contemplation of the wounded monster that we are, to ask the Devil for everything God has denied us. We were born angry and bloody. We dance cumbia as an eternal claim to the sadness that burns us. We deserve to be reborn and be free. Maybe for that, we need to contemplate, taste our sweat and dance among the blood that drowns us until God is uncomfortable. We are the devil.

Synopsis

Between decadent industrial sites, shootings and decapitated bodies, dancers known as Soldiers of the Virgin (Matachines) dedicate their performances to God and to his eternal promise of abundance. Celso’s one of them. He dances cumbia and plays the accordion. He understands that there’s no future but dreams of being a musician. One night, on the verge of death with nothing else to offer, Celso sells his soul to the Devil. A hitman who loves cumbia. Thus it’s written in blood: while Celso’s alive he will be a musician but each melody will be born from the horror that embraces him. He’s alive, but from this privilege, an insatiable desire for power and the fear of losing it will be born. Celso sings to pain and betrayal. The horror is his sentence. Meanwhile, cumbia sounds powerful in the neighborhood and everyone laughs hopelessly. Thus, together with Celso, God and the Devil dance.

Visual concept

The poetization of the natural crumbling of our everyday world. I look for images, textures and times to exist as a single being, as a single dream basted thanks to the plastic unit. Each shot will try to articulate emotional, throbbing units that allow us to feel the weight of time transforming the image and our perception of the story. The edition will build each emotional process by contemplating the internal, dancing rhythm that articulates the dramatic progression, the inner hell of the neighborhood, of my characters.