Bringing experimental, international, and undistributed films to Los Angeles
Los conductos (Camilo Restrepo, 2020)
Date: May 11, 2022
Location: 2220 Arts + Archives
Address: 2220 Beverly Blvd, Los Angeles, CA 90057
Los Angeles premiere!
Pinky is on the run. At night the empty streets smell of the apocalypse and the city seems to be on fire. Narcotics swirl through the veins and the air. Having freed himself from the clutches of a sect led by a certain “padre” and determined to take his fate into his own hands, he is now holed up in an illegal T-shirt factory, surrounded by paints, slogans and heat presses. Pinky is looking for the light at the end of the tunnel, but ghosts are breathing down his neck. He is running for his life, and Colombia is on fire. But Colombia is alive.
After his highly promising short films, Camilo Restrepo has now made a debut feature that is as visionary, physical and elastic as the 16mm celluloid on which it was shot. The deeper Los conductos dives into the nightmarish and the hallucinatory, the tougher, more political and hungrier for reality the film becomes. In a narrative downward spiral, it conveys with the utmost precision the survival instincts of a character who is unwittingly fighting to liberate an entire country, perhaps even a continent. Restrepo uses the medium of cinema to transform an allegorical exploration of one’s roots into an irrepressible desire to change the world. Winner of the Best First Feature prize at the 2020 Berlin Film Festival.
Stunning. Hallucinatory. A swirling, cryptic journey into a hellish Medellín night.
Jonathan Romney, Sight & Sound
Vivid and dreamlike. Nearly every sequence contains a moment of sudden, arresting beauty.
Clinton Krute, BOMB Magazine
Every frame is gorgeous. Restrepo’s debut feature burns white-hot with the misterioso story of an outlaw at large.
Devika Girish, Film Comment
Striking and evocative. A fever-dream. An arresting, committed performance from newcomer Luis Felipe Lozano.
Nikki Baughan, Screen
Like a forge in which volatility becomes the rule, where narrative is not so much subject to contingency as it is inherently contingent, exposed to violent convulsions and capricious digressions.
Jay Kuehner, Cinema Scope