FICCI 65 to Showcase the Vanguard of Colombian Cinema with Over 180 Films from 57 Nations

The Cartagena de Indias International Film Festival (FICCI) is preparing to celebrate its 65th edition from April 14 to 19, solidifying its status as the oldest and most influential cinematic event in Latin America. This year’s iteration promises a robust and diverse lineup, featuring more than 180 films representing 57 countries. At the heart of the festival lies the Colombian Feature Film Competition, a curated selection of seven titles that serve as a barometer for the current state of the national industry. Among these, four are directorial debuts and five will have their world premieres on the historic screens of Cartagena, signaling a period of significant renewal and creative risk-taking within the Colombian film community.

The selection reflects a profound shift in how Colombian filmmakers approach narrative and form. According to David Montenegro, FICCI’s Head of Programming, the films in this year’s competition trace the "tensions and pulses" of contemporary Colombian cinema with an unprecedented honesty. Montenegro describes the current wave as "autoethnographic and heuristic," suggesting a body of work that is not only self-reflective but also actively seeks to discover new truths by questioning and overflowing its own artistic boundaries. This introspection is a recurring theme, as creators move away from traditional tropes to explore more personal, internal landscapes.

A Transversal Axis of Introspection and Formal Hybridity

A critical analysis of the 65th edition’s programming reveals a common thread: a gaze that reflects upon the very means of its production. Montenegro identifies a "transversal axis" in this year’s competition, noting that the films are characterized by a deep awareness of their margins, whether in terms of financing models or their position within the global cinematic landscape. These narratives are often "traversed by an internal and self-critical affectivity," representing an exercise in freedom that reimagines the possibilities of representation.

This awareness is not merely thematic but is deeply embedded in the formal structures of the films. The majority of the selected works lean toward hybridization, consciously playing within the "cracks and limits" of established genres and formats. By blending documentary techniques with fictional narratives, or using experimental textures to convey historical memory, these filmmakers are expanding the vocabulary of Colombian cinema. This formal expansion is particularly evident in the five world premieres that anchor the national competition.

Highlights of the Colombian Feature Film Competition

The selection for the 65th FICCI showcases a wide range of aesthetic and thematic concerns. Among the most anticipated world premieres is "El hogar fue sepultado en esa tierra que nunca pudimos encontrar" (The home was buried in that land we could never find), the debut feature by Deimer Quintero Vertel. Produced by Archipiélago Sonoro, the film is an experimental documentary that delves into the traces of disappearance. It navigates the delicate space between longing, reverie, and nightmare, providing a visceral exploration of loss in a country still grappling with its past.

Another significant entry is "Las almas ni los ojos" (Neither souls nor eyes), directed by Canela Reyes and Cesar Jaimes. Both directors come to this project with previous acclaim—Reyes for "La Bonga" and Jaimes for "Carropasajero." Produced by a collective of houses including Los Niños Films and Jarana Cine, the film follows Pacho, who fled violence at the age of 15 and now seeks to return to Anserma. The narrative is framed as an "interstellar journey," where the return to one’s roots is rendered through a lens of rural expressionism, blending memory with the persistent echoes of death.

The trend of personal memory continues with "Lolita en Honda," the feature debut of Daniel Torres. Also produced by Los Niños Films, this intimate project sees the director summoning family ghosts to reconstruct the memory of his grandmother. Shot on 16mm film, the work explores the materiality of the medium and the use of actor doubling to investigate transgenerational trauma. By emphasizing the "error" and the physical grain of the film, Torres seeks to transform individual recollection into a collective narrative.

In "Manual para invocar fantasmas" (Manual for invoking ghosts), director Juliana Zuluaga—known for "El origen de las especies"—presents a production by Crisálida Cine. Set in an abandoned boarding school in the mountains of Antioquia, the film follows a group of actresses as they recreate the testimonies of 43 women against Opus Dei. The project begins as a theatrical exercise but evolves into something more ethereal as the "ghosts of the past" seemingly take control of the camera, blurring the lines between performance and haunting reality.

The fifth world premiere is "Una escritura en apariencias" (A writing in appearances) by Nicolás Cifuentes. This debut visits Teyuna, the Lost City of the Tayronas, comparing two distinct time periods separated by half a century. Through a dialogue between archival footage and modern cinematographic exploration, the film reflects on the territory’s spirituality and its history of resistance, offering a meditative look at one of Colombia’s most sacred archaeological sites.

Rounding out the competition are two titles that have already begun their journey on the international circuit. "Puntos de fuga" (Vanishing Points) by Lina Rodríguez, a co-production between Colombia and Canada, will have its international premiere. Additionally, "Piedras preciosas" (Precious Stones) by Simón Vélez, a collaboration between Colombia’s Triángulo and Portugal’s Bam Bam Cinema, will have its Latin American premiere following its debut in European festivals.

Expanding the Cinematic Reach: Animation and Short Films

Beyond the main feature competition, FICCI 65 continues its commitment to diverse formats and community engagement. A notable highlight is the world premiere of "Mu-ki-ra," an animated feature directed by Estefanía Piñeres. The film will debut in the "Cine en los Barrios" (Cinema in the Neighborhoods) section, a flagship program designed to bring high-quality cinema to local communities and audiences of all ages. The inclusion of high-caliber animation in this section underscores the festival’s effort to democratize access to culture and support the growing Colombian animation industry.

The short film competition remains a vital component of the festival’s ecosystem, featuring 20 titles that showcase the agility and experimentation of emerging filmmakers. Of these, 14 will be world premieres, providing a platform for new voices to be discovered by international programmers and critics. These short works often act as the "R&D" wing of Colombian cinema, where new techniques and narrative structures are tested before being scaled into feature-length projects.

Historical Context and the Evolution of FICCI

The 65th anniversary of FICCI is a milestone that reflects the resilience of the Colombian film industry. Founded in 1960 by Victor Nieto, the festival was established to promote the exchange of cultural values through cinema. Over the decades, it has survived economic fluctuations and political shifts, eventually becoming a UNESCO-recognized event within the historic walled city of Cartagena.

The current strength of the Colombian selection is inextricably linked to the legislative support systems established over the last two decades. Law 814 of 2003 (the "Film Law") and Law 1556 of 2012 have provided the financial scaffolding necessary for the production and international promotion of national films. These laws created the Fund for Cinematographic Development (FDC), which has been instrumental in funding many of the debuts appearing in this year’s competition. The result is an industry that has moved from producing a handful of films per year to a consistent output of over 40 features annually, many of which find success at festivals like Cannes, Berlin, and San Sebastián.

Broader Implications for the Regional Industry

The 65th edition of FICCI arrives at a time when Latin American cinema is increasingly focused on "sovereign narratives"—stories told from within, utilizing local aesthetics rather than imitating Hollywood structures. The "autoethnographic" approach mentioned by Montenegro is part of a larger regional movement where filmmakers use the camera as a tool for social and personal investigation.

By prioritizing world premieres and directorial debuts, FICCI is positioning itself not just as a showcase, but as a launchpad. The festival’s focus on co-productions, such as the partnerships with Canada and Portugal seen this year, also highlights the increasing globalization of the Colombian industry. These collaborations allow for larger budgets and wider distribution networks, ensuring that Colombian stories reach a global audience while maintaining their cultural specificity.

As Cartagena prepares to welcome filmmakers, critics, and enthusiasts this April, the 65th FICCI stands as a testament to the power of the moving image to reflect, challenge, and heal. The "tensions and pulses" of the 180 films on display will offer a comprehensive look at a world in transition, viewed through the unique and increasingly sophisticated lens of Colombian and international creators. With its mix of historic reverence and avant-garde ambition, the festival remains a vital node in the global cinematic circuit, proving that after six and a half decades, its vision is more acute than ever.