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Forero's debut consists of three fragments, three experiences of violence, three central characters. The starting point feels familiar, almost cold and programmed as if it were an academic essay. But the film itself moves the viewer to another place of understanding; it plays its cards elsewhere. Here, the violence is more an imprint than an event: the violence was and is in the actors’/ characters’ bodies and in their mental and physical traces, which are followed by a camera that doesn’t rest. This violence will remain, and with its strange and annihilating force, it will destroy any sense of familiarity and belonging. It is a violence that is not confined to acts, but lurks in words, looks and gestures, and seems not to admit the possibility of a different solution to the standardisation, the banality, of evil. But the film itself is an answer. By refusing to reproduce violence explicitly or literally, it shows a way of escaping the maze through art; it expresses a kind of perception that passes through understanding and distinguishing, through seeing beyond what is seemingly inevitable and homogeneous about violence, and noticing how exceptional and unacceptable violence is for each individual.
A few years ago, I was diagnosed with a degenerative disease, which ended up changing my attitude towards cinema and life. While searching for a cure, I was struck by how valuable the capacity for true and sincere empathy with the suffering of others is. For me, this attitude became a chance at reconnection with other human beings. And there I found what for me is the heart of VIOLENCE as a movie: generating empathy for others. That's why VIOLENCE is a movie about the experience of violence. I didn't want the film to be reduced to only its three protagonists; rather I wanted them to be archetypes of the hundreds of people that are going through the same situations.
I observed the protagonists of my film, created a bond with them and their lives, and accompanied them in their most private moments, but also in more public ones. I avoided dramatising violence as well as the depiction of the connections between cause and effect. That allowed me to make the film without Manichaean interests. There is no definitive answer to the question of the causes of violence in Colombia, so it would be irresponsible and pretentious to try to explain it in a film. In view of the violent conflicts being carried out in Colombia, it makes no difference who the individuals are who are involved, which armed group is which. Ultimately, both sides are involved, each in its own way. VIOLENCE is made up of three different stories in which the spirit, the emotions and the body are destroyed. I would like my film to make it possible for viewers to recognise in the other a human being of flesh and blood, and I would like to touch their hearts.
BLOND INDIAN FILMS