Maybe everything starts at the end. Not at the conclusion, but at the end, at the existence of the end. Luis Ospina has seen it: first with the suicide of his friend Andrés Caicedoat the age of 25. Then, with the death of Carlos Mayolo and, a few years later, close to him, when he decides to make this film and is diagnosed with a cancer that "drove him to the very edge of death”.
Everything started at the end is the compendium of the life of men and women who were young in Colombia in 1971. It is the sensitive handful of memories from Grupo de Cali, but it is also the relieved breathing of those who take a heavy load off their shoulders. "It is hard to imagine someone undertaking an autobiographical project without it being, deep inside, something that demands, one way or another, a process of grief”, states the director. But the grief also becomes a caress for those who are alive.
"I think grieving our friend’s suicide helped us avoid the torture of thinking about self-destruction day after day, night after night”.
And there they are, Luis Opina, Andrés Caicedo, Carlos Moyano and many others, in the early seventies in Cali. There, in that house with beautiful façade and significant depth, which they call Ciudad Solar: a place full of hippies who seek to express themselves by any means possible. It is a time of flowers and drugs, of deep social criticism, of nudity without prejudices and boundless art, it is a light of hope amidst the world’s dark atrocity: the petal that faces the war cannon.
The countless stories from those years, the words, the dreams, the gestures, everything is rescued by the footage compiled by the director of Everything started at the end: "I’ve been my friends’ guardian, zealously saving their letters, texts, pictures, videos and films”. He says that he sees his entire previous work as a work in progress that led him to this film, where he sensitively puts his soul and the soul of Grupo de Cali.
Everything started at the end came out as "a retrospective and thoughtful work where several voices and perspectives converge regarding cinema and its backstage”.
Surprisingly, Ospina’s illness adds an unexpected side: "The film became more autobiographical and the issue of mortality and decay acquired greater significance”. But what he believed to be his own end, was not such. "Thanks to cinema, with its seeming immortality, its eternal present and its perennial timeless age, the film became the story of a survivor”.
THU 5 3.30 pm, PAS 2
FRI 6 7.50 pm, PAS 2
SAT 7 11.50 am, PAS 2