GENRE: Mock Documentary or Fake DocudramaRUNNING TIME/DURATION: 95 minutesFORMAT: Cine Alta RedOne

SYNOPSIS:

A journalist (Cesar Mora) is sent to produce a documentary about the demobilization and disarmament process involving the young people in Petecuy, one of Cali’s most dangerous slums due to its high crime rate, child abuse rates, collection agencies (i.e. organizations of assassins in the services of drug traf�ckers, guerrillas or paramilitaries for reckoning), and the illegal traf�cking of drugs and �rearms. Father Edilson Huerfano, through his actions and his kind disposition, has won the hearts and minds of this community, and the trust of a local gang, Together, Huerfano and the community are promoting a “peace process” to support gang members in their struggle to emerge from this violent setting.

Aided by the priest, the documentary’s director gains access to this problematic and insecure territory and initiates the investigation and the recording of images and events. Through these images he reveals the neighborhood’s idiosyncrasy: its history, liveliness, colors, music, unhappiness and desperation, as well as its people and their experiences. Stories that in some cases are striking, in other instances comical and in others, simply unbelievable. This experience is the raw material that he will use not only to make the documentary but also a feature �lm. He is able to carry out this venture after a group of investors decide to give him �nancial backing.

The journalist, residents and former gang members decide to work together to take on this endeavor. But the problems start mounting one after another, creating havoc and making the director doubt his decision to shoot. Many of the natural actors involved in the production are murdered during the �lming. Father Huerfano, who has helped to bring down homicide rates, break up collection agencies, and reduce the sale and consumption of hallucinogens, is becoming a thorn in the side of Donal (Cristóbal Errázuriz), the person who controls the ma�a in this sector of the city. A man so powerful that his networks of in�uence have in�ltrated the highest systems of control; with such a dark and obscure pro�le that the only ones who know him are his bodyguards and Salomé, his queen, and the sultriest woman in the neighborhood.

Donal and his henchmen keep a close watch over Salomé and allow her only sporadic visits to the church. After several visits, Salomé �nds in the priest a con�dant, a friend and an advisor, and soon falls in love with him. Donal doesn’t take long to suspect what is going on, and he will not tolerate anyone who interferes with his business, much less someone who becomes involved with his goddess, Salomé.

This movie is built upon, and shifts between the different levels, or planes of reality, combining different cinematographic genres in order to illustrate the daily life in Petecuy while at the same time creating friction.

DIRECTOR’S NOTE

Throughout human history many have used art as a means to harness their creativity in search of beauty. If admiring beauty is gratifying, and thereforeconducive towards a healthier and happier setting, we can conclude that art is an agent of social development. As an instrument of expression art becomes an escape valve that can generally lead to extreme, and even radical points of view, depending on the circumstances, that if not guided properly can result in pathological behaviors towards society, that inevitably lead to criminal and delinquent behaviors amongst others.

The social circumstances that affect the inner cities accelerate and enable artistic expression. Here you are first an artist and then the circumstances will place you in a specific setting. A framework in which, maybe, the social fabric is made from Kevlar, a very flexible, resistant, impermeable, and armored material, where your friends are your family, and encouragement, honor and loyalty serve as your scapulary. A setting whose only purpose is geared towards leisure and enjoyment. This is a place where you learn how to play soccer and dance before you know how to walk. An environment where book smarts are displaced by learning the art of being “abeja”, or being street smart, and knowing how to swindle and sweet-talk, be it for love or money, are inherent skills. It is the modus operandi of “el rebusquis”, or doing anything and everything to get money. Because in order to lie one has to be an artist, or is there anyone better at deceiving you than an actor? He is also an artist, but the circumstances gave him a different setting. Let it be noted that given their geographical position within the city of Cali and along the Cauca River, where there are no buildings more than three stories high, or trees, your perception of closeness to the sun makes you feel that being black is not for granted.

Now is the time where film has a lot to offer, discuss and construct as an art form. As a coupler and enabler of all the other arts: architecture, dance, sculpture, music, painting and literature,melding the script, the scenography, set decorations, props, acting, sound and music design, and photography, motion pictures conjoin them all into one great opus in a simultaneous uniform conjugation of all its elements. Through film we generate culture, feeding off the aristocracy, transforming our own social paradigms, and giving us a venue that brings about a catharsis, enabling us to assume new goals, planes of reality, compare and assume new viewpointsand dream.

The responsibility we encounter in our present situation is not only pertinent to the absence of government, or the exclusion, or indifference, or the lack of support by the private sector, or the lack of job opportunities. It concerns all of us who are going idly about our lives, without ever imagining what we could have been, or that we could be better or worse off than our present situation, because remember, no one bathes twice in the same river and change is constant. Now is the time to take action, and to bring about changes that are conducive towards a better coexistence and social development in our city, Cali. Ours is by means of cinema, and wholly convinced that it is an instrument of social transformation at a large scale, and we are headstrong in our attempt to understand, and make sure others understand, that art is an instrument of social inclusion and growth.

On the other hand �lm, and the modern perception that cinema in a globalized and capitalist world, have mutated into a lucrative industry, due in part thanks to the technological advances and their impact to our society. These in�uences amongst other things have made our lives more entertaining.

The Petecuy project not only aims to make �lms. Our main objective is to perform social work through art, enabling us to offer job opportunities in a setting that almost seems foreign to the inhabitants of this sector, most of whom have never set foot in a �lm theater. Our project is one of inclusion; it is a movie that has been produced alongside Petecuy’s community who make up most of the production team including actors, producers, set dressers, gaffers, set designers, cooks, dancers, choreographers, singers, foremen, artisans etc. Some of which have found venues in which to express themselves, and others have found work opportunities, but most importantly they have found a space for social inclusion.

PETECUY, LA PELÍCULA emulates realityby touching upon our most deep-rooted social problems such as violence, the drug trade, and gang banging, without them being its central axis. Its story revolves around a �lm director, and chronicles the myriad of situations that emerge when a movie is shot where its natural actors come from that same community, where the gang member is a gang member, the mazamorrero is the mazamorrero, the grandmother is the grandmother and the priest is the priest. Problems like not being able to rely upon your actors at all times because they might be murdered in the middle of a scene because they got involved with a drug dealers woman, are situations that illustrate the uniqueness of the story of making this story.

What I want to get through in “caleño” is that �lm helps the common people because it teaches them culture, entertains and gives them an income, it gives them the chance to be a part of the city, elates, amuses and revitalizes. Petecuy is a neighborhood with a completely different outlook that includes cameras, cranes, lights, microphones, but above all it is a group of people that includes us all. If we have learned anything at all, it is that �lm makes friends of us all.

DIRECTED BYOscar Hincapié Mahecha

Colombian �lm and television director, and winner of the SIMÓN BOLIVAR NATIONAL JOURNALISM AWARD for best chronicle in the Young Journalism category in 2004. He has directed music videos, institutional videos, and commercials for television. His �lmography includes, amongst others, LA GRAN APUESTA, a short in which God and the devil �ght for control of planet earth over a poker game, a production that participated in TNT Latin America’s Proyecto 48 in the year 2007. With ARÁCINDO Y ABEJUDAS, JARAGRILLO Y ARTRÓPOLDO, he won �rst place in the 2006 edition of IMAGINATON. In that same year he also received a mention of honor in the Universidad de Manizales CESARES AWARDS for PANDEBONIUM, EL MAGAZINE, a project that included a myriad of audiovisual formats, with mostly urban subject matter. In 2009 he shot OJO SALOMÉ, a short that has participated in festivals such as the CARTAGENA DE INDIAS INTERNATIONAL FILM FESTIVAL, and the CALI INTERNATIONAL FILM FESTIVAL, and is an integral part of PETECUY, LA PÉLICULA �lm project.

DIRECTOR OF PHOTOGRAPHYIván Oms Blanco

Born in Cuba but has been living in Spain for the last 18 years, he has participated as a director of photography in �lms such as Mohamed Ismail’s ADIÓS MADRES, a movie that was nominated in the Best Foreign Film category in the 2008 OSCAR AWARDS. He has also worked in renowned documentaries such as MISTERIO DE LAS AGUAS, MADRINA DE GUERRA in the year 2007, METRÓPOLIS – HISTORIAS SUBURBANAS in 2009. Currently he is in the development of 4 �lm projects, most of which are shot in the Cine Alta RedOne format, that include the documentary ERNESTO GUEVARA and the feature �lm PETECUY, LA PELÍCULA.

CAST & CREW

FIRST ASSITANT DIRECTOR: Ana Cristina Díaz Arboleda SCREENPLAY: Oscar Hincapié Mahecha y Ana Cristina Díaz Arboleda PRODUCTION COMPANY: Fundación/Productora PandeboniumPRODUCER: Vannithy MonteroPRODUCTION MANAGER: Luís Alfredo León CalleEXECUTIVE PRODUCER: Rafael Araujo y Vannithy MonteroFIELD PRODUCER: Carolina Martínez y Carolina Izquierdo PRODUCTION DESIGN: Ana Cristina Díaz ArboledaDIGITAL INTERMEDIA TRANSFER: Adrían Rodriguez Navas y Ana Cristina Díaz ArboledaHEAD GAFFER: Carlos MuñozCRANE OPERATOR: Francisco OrtízSPECIAL EFFECTS: Go Effects LtdaSPECIAL EFFECTS DIRECTOR: Gonzálo PazosART DIRECTION: Ana Cristina Díaz Arboleda y Hernán Camilo Barreto SPECIAL MAKEUP EFFECTS: Gonzálo Pazos y Hernán Camilo BarretoSET DESIGN: Juan David BernalSET DESIGN: Andrés Triana ACTING DIRECTOR: Juan Calderón CASTING DIRECTOR: Cesar Duque MejíaSCRIPT SUPERVISOR: Lina Fernanda Cadavid OrdóñezSTILL PHOTOGRAPHER: Juan Ignacio Muñoz SOUND: Alejandro Sierra y Hernándo TejadaMOVIE SOUNDTRACK: Humberto Pernett, LA DINASTÍA, Gustavo Díaz ¨The Producer¨, FLOW DA KILLA, Diamantino, L Gamín, OST by El Ritmo Records Aut: Jiggy DramaMUSIC SUPERVISOR: Francisco “Mono” Henao, Luis CaparrozoEDITOR: Habacuc Rodríguez NavasPOST-PRODUCTION: Black Diamond ProductionsGRAPHIC DESIGN & ANIMATION: Jorge Barney, Tiempo de CineBRANDING: Michael Marmolejo G y Estephania Corbelletta B.PUBLICIST: Jose Reyes, Boom Creative MEDIA RELATIONS: Nadya Hernández y Vannithy Montero

NATURAL ACTORS:

Jhonatan Steven lleras

“Monedita”

Steven Quiñones

Portocarreño “Titi”

Leider Abraham

Villada "El Zarco"

Jhon Jairo

Garzón

AlexanderAngulo

Caicedo “Alex”

Duvan Villa

“Chapas”Edilson

Huérfano

Edwin Sandoval

Ríos “Vivi”

Jhonni Minota

“Costeño”

CESAR MORAThe Director

An eccentric yet learned Cali born director. He has dedicated his life to journalism from a young age and has received various awards and commendations for his news reports and news chronicles. During an investigative report, making video-records and conducting interviews, in the Petecuy neighborhood, he has an idea for a feature �lm; A movie where a �lm director conducts his cinematographic body of work in Petecuy. During this endeavor his �lm runs into various inconveniences such as actors being murdered, production problems, and perhaps most interesting of all, a melding of reality and the story he has written.Cesar Mora, an actor born in Cali, Colombia, with renowned experience in �lm and television, plays this character. He starred in the movie DIOS LOS CRÍA Y ELLOS SE SEPARAN, co-starred in PERDER ES CUESTIÓN DE MÉTODO, Sergio Cabrera’s latest project, LOLITA’S CLUB directed by Spanish director Vicente Aranda, and the �lm IN FRAGNTI which premiered in December 2009, that was inspired in Dago Garcia’s play by the same name. In 2008 he received the India Catalina Award in the Cartagena International Film Festival.

CRISTÓBAL ERRÁZURIZDonal

He is rich, powerful and bloodthirsty. He makes sure the best and purest cocaine paste in the region arrives to Petecuy, and after it is “cut” distributed and sold by different networks (gangs). He does not tolerate anyone who interferes with his business, much less with Salomé, his queen. He is a cold, calculating and mysterious man. Many people in the neighborhood work for him as informants, people who owe him favors, money or who a simply just afraid of him. He is so powerful that his networks of in�uence have in�ltrated the highest systems of control.Character played by Cristóbal Errázuriz, an actor well known for his interpretation the Machiavellian and calculating Iván Vallejo in CAFÉ, CON AROMA DE MUJER. He has also participated in renowned productions such as ÁZUCAR, MUJERES ASESINAS and SIN TETAS NO HAY PARAÍSO.

VANESSA HERNÁNDEZSalomé

She represents overwhelming beauty and personality that only women from Cali posses. She is 23 years old, with caramel colored skin and hazel eyes. She is an imposing �gure of undeniable beauty, and is respected by everyone because she is Donal’s woman. He gives her and her family everything they need, making her fragile and submissive to his power. She lives with her grandmother and little brother, whom she takes care of, since her mother abandoned them and her father, was killed in Colombia’s armed con�ict.Salomé is portrayed by Vanessa Hernández, a Cali born actress who is making her �rst incursions in the big screen after debuting as a television presenter in Cali.

On the other hand �lm, and the modern perception that cinema in a globalized and capitalist world, have mutated into a lucrative industry, due in part thanks to the technological advances and their impact to our society. These in�uences amongst other things have made our lives more entertaining.

The Petecuy project not only aims to make �lms. Our main objective is to perform social work through art, enabling us to offer job opportunities in a setting that almost seems foreign to the inhabitants of this sector, most of whom have never set foot in a �lm theater. Our project is one of inclusion; it is a movie that has been produced alongside Petecuy’s community who make up most of the production team including actors, producers, set dressers, gaffers, set designers, cooks, dancers, choreographers, singers, foremen, artisans etc. Some of which have found venues in which to express themselves, and others have found work opportunities, but most importantly they have found a space for social inclusion.

PETECUY, LA PELÍCULA emulates realityby touching upon our most deep-rooted social problems such as violence, the drug trade, and gang banging, without them being its central axis. Its story revolves around a �lm director, and chronicles the myriad of situations that emerge when a movie is shot where its natural actors come from that same community, where the gang member is a gang member, the mazamorrero is the mazamorrero, the grandmother is the grandmother and the priest is the priest. Problems like not being able to rely upon your actors at all times because they might be murdered in the middle of a scene because they got involved with a drug dealers woman, are situations that illustrate the uniqueness of the story of making this story.

What I want to get through in “caleño” is that �lm helps the common people because it teaches them culture, entertains and gives them an income, it gives them the chance to be a part of the city, elates, amuses and revitalizes. Petecuy is a neighborhood with a completely different outlook that includes cameras, cranes, lights, microphones, but above all it is a group of people that includes us all. If we have learned anything at all, it is that �lm makes friends of us all.

HÉCTOR ALEXANDER GÓMEZGorduales

He is the leader of the PETES gang, has always been crafty and his business description usually includes intelligence and recon, planning, strategy and job coordination. He is malevolent, vicious, upfront, and distrustful of everyone and everything, as well as a good observer. Thanks to his, and others’, statements The Director �nds the inspiration he needs to make his movie.Gorduales is interpreted by Héctor Alexander Gómez, an actor from Cali who has participated in several productions such as FUEGO VERDE, REPORTAJE AL MISTERIO, HOMBRES DE HONOR, HÉROES DE TURNO, SOMBRA DE TU SOMBRA and EL CARTEL DE LOS SAPOS. He is making his �lm debut with PETECUY, LA PELÍCULA.

MAURICIO BASTIDASChancleta

He is young, aggressive, violent and exhibits signs of paranoia as a consequence of his addiction to cocaine and amphetamines. Seldom does he think it over when he does something, and acts upon mainly by instinct. In the gang and when working he is the designated driver, not only because of his skill behind the wheel, but because he knows the city’s streets like the palm of his hand. He is very euphoric.

Chancleta y played by Mauricio Bastidas, an actor described by the media as “unpretentious, irreverent and with unimaginable talent”. He is known for his roles in Colombian television in EL PENÚLTIMO BESO and AMOR SINCERO.

ALEJANDRO BUENAVENTURAPresident of the Board

He is the person who represents the government, and is in charge of approving sponsorship and backing of �lm projects. He knows how to express himself eloquently without being too formal when doing so.

This character is played by Alejandro Buenaventura, an actor born in Cali, Colombia who has pursued artistic endeavors. He is well known in the industry for his interpretations in CAFÉ, CON AROMA DE MUJER, LA VIUDA DE LA MAFIA, EL VENTILADOR and LA DANZA DE LAS SOMBRAS. Along with his brother, Santiago Buenaventura, he co-founded Cali’s Experimental Theater.

APPROACH

In this century it’s impossible to describe a person without �rst placing them in a determined space and time, and as a social actor who is an intrinsic part of a culture.He or she is part of social dynamics that demand different ways of seeing the world, and understanding them from a speci�c vantage point depending on the events that they are a part of. From this perspective PETECUY, LA PELÍCULA, thanks in part to an investigative documentary about PETECUY, a historically violent inner city neighborhood located on the Cauca Riverbank, and part of Santiago de Cali’s sixth commune, bene�ttedwith the exploration and understanding of different social processes and social dynamics that arise in this community allowing us to encounter real life stories, possible characters, and bits and pieces of reality. Factors that became the inspiration for a story that came about by the understanding of the historical context of the individual and collective conducts within the neighborhood. PETECUY, LA PELÍCULA, is a means of drawing close to the reality of this neighborhood that feeds itself of stories that seem so far-fetchedthat are in the same way comical.

JUSTIFICATION

Film is a means of expression that not only expresses historical moments that become engraved in our collective memory. It is also a tool of expression and manifestation, and in the end the one art form that is able to represent and encompass human life in all of its aspects. This project did not only set out to be a testimony of PETECUY’s situation due to the abandonment of the State, corruption, drug traf�cking and delinquency, but also to highlight how in the midst of this day-to-day violence, and during the process of producing this movie, former teenage and child gang members bet on a better way of life. One which involves theparticipation in activities that are not linked to delinquent activities, but towards art, guiding them towards a better lifeoutlook, one that will ratify them as a fundamental part of society’s growth and development. This will reinforce their perception of their role in society, by being someone who gets involved in actions that contribute and transform their environment and their own lives.

OBJECTIVES

PETECUY, LA PELÍCULA implements theoretical, practical and lively workshops, that enable a pedago-gical setting whose aim is to af�rm art, not only as a means of expression, but also as a digni�ed craft that generates culture and growth, offering an otherwise restrained participant, the notion that they are a key part in the development of a society. In the same way we intend this experience to be one of self-examination that makes them examine themselves and the community they live in, and as their manifestation in their country and the rest of the world. The task at hand is to present a historically violent inner city neighborhood in which there are families and young people whose viewpoints go beyond what is shown by the mass media outlets. It’s giving a face to the headlines by narrating a story whose �ctional main characters are the same ones in reality.

THE PROJECT AND HOW IT BEGAN

This project began during the demobilization and peace process efforts lead Father Edilson Huerfano in Petecuy in 2007. An urban transportation company that decided to convert the buses that went into disuse into Social Care Units, classrooms, dental of�ces and soup kitchens further aided this endeavor. This was the reason Oscar Hincapié came to this neighborhood to document what was happening. It was there where he not only encountered this harsh realty face to face, but also the happiness, a trait that characterizes people from Cali, their sense of humor, their joviality and their hopes and dreams.

It was then after several informal conversations with leaders and members of this community that evidenced their disposition to partake in the project.

This is when the project begins to employ and instruct those interested in different aspects, or roles, within the �lm. Every Sunday from 9 in the morning until noon the “Talleres Siete Artes en Petecuy (The Petecuy Seven Arts Workshops)” are being taught. These workshopsinclude, artistic sensibility, acting, body expression, voice intonation and dance, and are being held in the neighborhood’s recreational facilities offering a different occupational alternative to its participants. During those three hours crime rates, murders and street �ghts are reduced thanks to the residents of Petecuy 1.

This is precisely one of the outcomes expected from this project, that the younger generations in this neighborhood not only gain recognition, but also be given the chance to further advance themselves through legitimate employment, and in doing so multiplying this experience within their communities, neighboring localities and even at a national level all throughout Colombia.

In the �rst months of 2008 with the inherent need to make the project known to the public the trailer ¡OJO SALOMÉ!, a 10 minute long promotional short, was produced. This short showcases the narrative, artistic and cinematographic language to be implemented in PETECUY, LA PELÍCULA.¡OJO SALOMÉ! was �rst shown in Cali on August 21st. 2009, and was covered by the local, regional and national media. The project was also showcased in Petecuy 1 neighborhood, where its residents and participants recognized this short as a means of making themselves visible before the city and the country as a whole.

¡OJO SALOMÉ! was also screened in the university Universidad Autonoma de Occidente’s II Dosis Audiovisual Intravenosa �lm festival, as well as the Cali International Film Festival and the Cartagena International Film Festival. AnEnglish subtitled version is available over the internet so that it can be appreciated at an international level as well.

THE STORY AND ITS VISUAL STYLEBYAna Cristina Díaz ArboledaSCREENPLAY/PRODUCTION DESIGN

NARRATIVE APPROACH

It is indispensable to let the story be unmistakably clear, and the different narratives presented within it to explain its essence and de�ne the visual style, or look, of the movie. Our story encompasses three narrative planes of existence that could be explained as three different realities. PETECUY, LA PELÍCULA is the story of a director who in search of �nancial backing to produce his movie, brings into contact with and explains the story he wishes to bring to completion on the big screen. This is what we will refer as: REALITY and is narrative ONE and takes place in the present. The Director’s voice over is the narrative thread that drives the entire movie, and as such, through his imagination we will see the story he wants to get �nancial backing. The story that he wants to shoot will be called THE MOVIE, or narrative TWO, in which a journalist arrives to Petecuy to make a documentary, thereby making video-records and conducting interviews with his hand-held camera. The Journalist showcases for us, through his experiences, the neighborhood’s frame or reference, its different characters, the situations and adversities he lives through, and the reason why he wants to produce a movie inspired by this reality. The movie he wants to carry into effect thanks to his experiences is THE MOVIE OF THE MOVIE or narrative number THREE, and it is the �ctional interpretation of the different testimonies he has recollected.

IMAGE TREATMENT OR DESIGN

After an arduous investigative process, a comprehensive observation of the setting, its context, time period, the story and its characters, and in conjunction with a creative process, we have established the photography, chromatic range, locations, special effects, and the characterization of the different characters starting from their make-up and wardrobe choices. It is important to highlight that the movie presents various planes of narratives and reality, and a mix of genres that gives us the possibility of visual diversion, where every one of these planes will have a specific and unique language, pertaining to an artistic and technical proposal. This makes PETECUY, LA PELÍCULA, a complex story in its language, where every detail is of symbolic importance.

TEXT EDITOR

Nadya Hernández Ana Cristina Díaz ArboledaVannithy MonteroAlejandro CabalMaria Antonia Otoya

PHOTO

Juan Ignacio MuñozCarolina IzquierdoCarolina MartínezAndrea VacaMichael Marmolejo G.

LAYOUT AND DESIGN

Michael Marmolejo G Estephania Corbelletta B.

“Petecuy showcases the artist’s permanent struggle to reveal his sometimes aberrant idea about the establishment of the ‘aristocracy’ in which art makes itself subservient to

power, in order to be used as a tool of social growth and inclusion. It is a film charged with drama, suspense and comedy where all of these genres have an implicit place in

the reality of its characters as well as the spectator.” (Oscar Hincapié Mahecha)