Movies featuring the Native Peoples of

Los viajes del viento; El abrazo de la serpiente

= Lame, Crummy.     = OK, Watchable.     = Good.     = Very Good.     = Great, Classic.


Embrace of the Serpent

Director:Ciro Guerra
Writers:Ciro Guerra
Jacques Toulemonde Vidal
Cinematography:David Gallego
Music:Nascuy Linares
Year/length:2015; 125 minutes
Setting:Río Vaupés, Amazon,
1909 and 1943
Languages: Spanish, German, Cubeo, Wanano, Tikuna, Huitoto, Portuguese, Catalan, Latin
Native Content:very high
Released on:DVD and online
Rating: lousy ok good very good excellent

The story is inspired by two explorers, the German anthropologist Theodor Koch-Grünberg (1872-1924) and the American botanist Richard Evans Schultes (1915-2001). However, the characters are fictionalized, with their names altered but recognizable. The two timelines alternate throughout the film, coinciding with the two great "rubber booms" of the Amazon. The first, from 1879 to 1912, was one of the worst holocausts in South American history. 50,000 Amazon natives were enslaved to harvest rubber, and they were also raped, tortured and killed. By the time the atrocity was exposed, only 8,000 people survived. The second rubber boom (1942-45) was only marginally less evil. The Brazilian government recruited 100,000 citizens, mostly non-native, to harvest rubber for World War II. About 30,000 died, though the chief cause of death was not murder but tropical diseases like malaria.

In the movie, both men are looking for Karamakate, a solitary healer who is one of the last survivors of the (fictional) Cohiuano tribe, who were slaughtered by the rubber barons. Theo, the 1909 explorer, is severely ill and seeks out Karamakate for his reputation as a healer. Karamakate reluctantly agrees to heal Theo, who is accompanied by his assistant Manduca, of the Karipulakena tribe, an assimilated Indian wearing white man's clothes. The unlikely trio journey downriver to find yakruna, a (fictional) hallucinogenic flower that grows on a certain species of rubber tree. A culture clash arises between the three as Theo resents the ritual injunctions (no meat or fish) that Karamakate imposes on him, while Karamakate distrusts both Theo and Manduca, whom he regards as caboclo or traitor to the whites. On their journey they encounter several harrowing scenarios. They find a wretched, one-armed rubber tapper who begs them to kill him. Next they visit a missionary where the children are forbidden to speak their heathen native language. Karamakate takes a few of the children aside and teaches them some native knowledge in the brief time he has with them. When Manduca hears some of the children being whipped, he kills the missionary priest, and the three move along on their journey. The final scenario is Chorrera, a rubber collection center that also served as a military barrack. There Karamakate finds soldiers and natives together, taking yakruna and abusing the sacred ritual. Karamakate burns all the yakruna flowers, saying that the plant must never be cultivated. More soldiers arrive, chasing everyone into the river, and the earlier narrative ends there.

Over 30 years later, Karamakate is again sought out by a white explorer. The ethnobotanist Evan is following in Theo's footsteps and knows that the plant he is seeking is yakruna. He explains to Karamakate that he has never had a dream and believes that the plant can help him. But the aged shaman has forgotten where yakruna is, forgotten all his knowledge of the forest's ancient secrets. He has become a chullachaqui, an empty shadow of himself. When he realizes how much he has forgotten, he agrees to help Evan in order to regain his former self. As they journey through the forest, Karamakate starts to remember.

Telling the rest of the story would reveal spoilers, so I will only say that this is a magnificent film, full of adventure, fascinating characters and timeless themes, a worthy follow-up to Ciro Guerra's Los viajes del viento. The indigenous characters in the earlier film only had brief parts, but it is worth comparing the two films, both being journeys of discovery. Viewers of El abrazo de la serpiente who want to learn more about the historical events that inspired the film should read One River, Wade Davis' account of the explorations of Charles Evan Schultes. The book uses a similar structure, alternating two narratives a generation apart, although in the book Schultes is the earlier explorer, and the anthropologist Wade Davis follows in his footsteps. It's a long and convoluted book, but well worth the effort. For a briefer account and more photos, see The Lost Amazon: The Photographic Journey of Richard Evans Schultes, also by Wade Davis. The excellent photos will recall many scenes from the film. Schultes' own book, Plants of the Gods, is also great. Finally, the press kit available on the film's official website is highly recommended.

Indigenous actors:
Young Karamakate - Nilbio Torres (Cubeo)
Old Karamakate - Tafillama Antonio Bolivar Salvador (Ocaina)
Manduca - Yauenkü Miguee (Tikuna)
Tuschaua (chief who stole compass) - Marcilio Paiva
El siringuero (one-armed rubber harvester) - Jose Sabogal

Official website:
Facebook page:

Sinopsis en español:
El film cuenta la épica historia del primer contacto, encuentro, acercamiento, traición, y posible amistad que trasciende la vida, entre Karamakate, un Chamán Amazónico, último sobreviviente de su tribu, y dos cientficos que con cuarenta años de diferencia, recorren el Amazonas en busca de una planta sagrada que podría curar sus males. Inspirada en los diarios de dos exploradores que recorrieron la Amazonía Colombiana, Theodor Koch-Grunberg y Richard Evan Schultes.

Cada voz lleva su angustia

(Every Voice Bears your Anguish)
Director:Julio Bracho
Writer:Julio Bracho, Alejandro Cotto
Cinematography:Alex Phillips Jr.
Music:Raúl Lavista
Year/length:1965. 95 minutes. B&W.
Setting:Soacha (town in Andes)
Language: Spanish
This film was made in Mexico, but is based on a novel by Colombian writer Jaime Ibáñez. In the Andean village of Soacha, Cob is in love with his cousin Maria. One day he gets drunk and hits her. Maria seeks refuge at the hut of old Ferro, whose wife has left him. Cob leaves the village and Ferro continues to shelter Maria. One day his son Nicolas spies her bathing and rapes her. The lame Isidro tries to stop him, and in revenge Nicolas burns Isidro's hut with him inside. Horrified by his own act, Nicolas throws himself over a cliff. This leaves Ferro and Maria to love each other freely. [I have not seen this film.]

Sinopsis en español:
En Soacha, pueblo de los Andes colombianos, es descubierto el cuerpo carbonizado del cojo Isidro dentro de su choza incendiada y, en el fondo de un despeñadero cercano, el del joven Nicolás. Se sospecha del padre de Nicolás, Ferro, por su mal carácter y por la pasión que le inspira la joven María, y solo el médico del lugar lo defiende. Flashback: Los campesinos quieren abandonar sus áridas tierras para ir en busca de las buenas que reparte el gobierno. Uno de ellos, Pablo, está dispuesto a partir, y otro, Cob, se aferra a su tierra natal. Cob ama a su prima María pero no se atreve a decírselo. Ferro, abandonado por su esposa, con su hijo Nicolás, de cuya paternidad duda, desiste de enamorar a María cuando comprueba que ella ama a Cob. Éste y María se unen pero él se emborracha por el sentimiento de culpa. Ebrio, Cob golpea a María y ella huye de la choza donde vive con él y se refugia con Ferro. Creyendose traicionado por María, Cob deja el lugar. María se queda en casa de Ferro quien la respeta y protege. Un día que María se baña, Nicolás que continuamente la espía, la viola, sin que el cojo Isidro pueda impedirlo, pero alcanza a dar a Nicolás un golpe con su muleta. En venganza, Nicolás quema la choza del cojo con él adentro. Horrorizado ante lo que ha hecho, Nicolás se despeña sin querer. Fin del flashback. María corresponde al amor de Ferro.

Director:José María Elorrieta
Writer:José María Elorrieta, Federico de Urrutia, Manuel Sebares
Cinematography:Alfonso Nieva
Music:Federico Contreras
Year/length:1963. 86 minutes.
Setting:Colombia, Panama, 1509-1513
Native Content:medium
Released on:VHS
Rating: lousy

An incompetent attempt to glorify the exploits of Spanish conquistador Vasco Núñez de Balboa (1475-1519). A prologue claims that Balboa was more interested in discovery than in riches, and the film continues this fulsome whitewashing by presenting Balboa as a pious, loyal Spaniard who sometimes protects the Indians from greedier explorers. In 1509 Balboa and his dog Leoncico stow away on a ship in Hispaniola headed for Cartagena. He is at loggerheads with the leader, Rodrigo de Bastidas. On the way they rescue Francisco Pizarro and his men adrift in a lifeboat. Upon reaching the mainland they found the city of Santa María la Antigua del Darién (in what is today Colombia, near the Panama border) and Balboa is declared alcalde. He then travels west to Cueva and befriends the cacique Careta and falls in love with his daughter Anayensi. Continuing west, Balboa and his new allies befriend the cacique Comogre, from whom he learns of a land to the south flowing with gold, and, more importantly to our Hollywood hero, a vast sea to the west just waiting to be discovered by a European. As the tale ends anticlimactically with Balboa's view of the Pacific, the viewer is left wondering what is so great about this "discovery." The film presents Balboa's curiosity for the sea as a noble quest that led him to forfeit his discovery of El Dorado, and it glosses over the incessant treachery that infested the relationships among the various conquistadors.

Conquistadores del Pacifico was a Spanish production with mostly Spanish actors, except for Frank Latimore as Balboa. It was released in a dubbed English version under the title Balboa. Despite the Spanish aegis and on-location shooting in Panama, it seems more like a U.S. production, and the Indians all look like leftovers from a John Wayne movie with their headbands and long faces. The battle scenes are well done; all else is dreadful.

Lugar en Sombras

Directors:César Alejandro Jaimes
Juan Pablo Polanco
Length:75 minutes
Native Content:very high
Rating: lousy ok good

In the middle of the Guajira Desert, Doris (Doris González Jusayú), a young Wayúu woman, has a dream about a cousin who died several years ago. She dreams that the cousin doesn't recognize her. Her grandmother tells her that the dream means that she did not take Doris with her to the afterlife. Doris is motivated to perform a segunda tierra, a second burial, a Wayúu custom that allows the dead to rest more peacefully. The family reopens the tomb, and Doris must take apart the bones of the skeleton. This is shown rather graphically as Doris twists off the skull from the rest of the body and removes other parts. This ritual was also shown briefly in the film Pájaros de Verano (below). Lapü is a combination of documentary and fiction, or docuficción, a hybrid which has become popular in Latin American films. Parts are documentary, while other parts are re-enacted to fill in the story. Although the film has won awards, the average viewer may find Lapü rather slow-moving. No writer or cinematographer credits are listed.

Sinopsis en español:
Amanece en el desierto de la Guajira y Doris, una joven wayúu, se despierta intranquila en su chinchorro. Ha tenido un sueño que no sabe cómo interpretar y al contárselo a su abuela y al médico tradicional de la ranchería comprende que su prima, que ha muerto hace diez años, le está pidiendo que exhume sus restos y los vuelva a enterrar en el cementerio de la familia en la alta Guajira. Este ritual, llamado el Segundo Entierro, es el evento más importante en la vida de un wayúu y es un proceso de catarsis que hará que Doris entre en contacto directo con la muerte, el mundo de los espíritus y los recuerdos de su prima.

(Mangutangu Aru Ngoechiga)
Director/writer:Gustavo de la Hoz
Music:German Arrieta
Setting:Colombian rainforest at the dawn of creation
Native Content:high
Release on: Youtube

Thousands of years ago, in the Amazon jungle, the god Gutapa observed that his people lived like animals and did not follow his rules. So he created Yoí and Ipi, who in turn created the people of Maguta. Yoi and his wife Umariana fished their people out of the river Evare. Yoi taught them how to survive in the jungle, and how to respect and protect it. He taught them to work in the community and instituted rituals. This film tells the Tikuna myth of creation and shows the culture of the people who today number about 32,000 in the areas of Río Santo Antonio do Ica and Río Solimones.

Full movie on Youtube:
(in Tikuna with Spanish subtitles)

Sinopsis en español:
Narra el mito de la creación según los pueblos indígenas del Trapecio Amazónico. Es considerado un rescate de un mito y una lengua, y el pronunciamiento de este pueblo indígena colombiano para enseñar y dar a conocer la profundidad de su cultura ancestral.

(Birds of Passage)

Directors:Cristina Gallego
Ciro Guerra
Writers: Ciro Guerra (story)
Cristina Gallego (story)
Maria Camila Aria (script)
Jacques Toulemonde Vidal (script)
Cinematography:David Gallego
Music:Leonardo Heiblum
Length:125 minutes
Setting:La Guajira, 1968-1980
Language:Wayuunaiki, Spanish
Native Content:very high
Rating: lousy ok good very good excellent

The matriarch Úrsula Pushaina (Carmiña Martínez) dominates this family saga of corruption and revenge in the Wayúu community in La Guajira in the northeast of Colombia. She dislikes the suitor Rapayet (José Acosta) who comes to seek her daughter in marriage, and demands an exorbitant dowry of money, cows and goats she thinks he'll never be able to scrape together. Rapayet comes up with the money by selling marijuana, which he buys from Anibal Uriana (Juan Bautista Martínez, who sadly died shortly after the film's release). Anibal is the head of another respected family in the community, who makes essential oil out of the marijuana. Rapayet makes his friend Moisés his business partner, but this proves to be a fatal error: doing business with an alijuna (outsider) spells the beginning of the end for both families. As in The Godfather, they grow richer and richer but by doing so they abandon their traditional ways and ultimately destroy themselves through violence and revenge. This is a magnificent film. The amount of indigenous culture shown is impressive, especially since this is mot merely an ethnographic exercise but a riveting and unforgettable tale. The review in the New Yorker describes the movie much better than I can:

Other cast:
Zaida (Ursula's daughter) - Natalia Reyes
Leonidas (blond-haired fool) - Greider Meza
Peregrino (Rapayet's uncle) - José Vicente
Indira (Rapayet's daughter) - Aslenis Márquez

Some important Wayúu terms used in the film:
Pütchipü'ü - palabrero, mediator Yoluja - ghost
Alijuna - outsider
Juyá - God of rain and hunting
Wanülü - a beast of sickness and death
Utta - a bird who was appointed to be the messenger, but didn't know how to talk
Choochoo - the bird who replaced Utta as the messenger bird.

Official site:
Facebook page:

Sinopsis en español:
En los años de la bonanza marimbera, época de derroche y violencia en la que en Colombia se empezó a traficar marihuana, Rapayet y su familia, indígenas de la zona, se ven involucrados en una guerra por el control del negocio que termina destruyendo sus vidas y su cultura.

(The Towrope)
Director/writer:William Vega
Cinematography:Sofia Oggioni Hatty
Music:Fidencio Tulcán y su Clavel Rojo
Year/length:2012. 86 minutes
Setting:La Cocha, a marshland village in Nariño in the Andes
Native Content:low
Released on:DVD
Rating: lousy ok good very good

When her village is burned and destroyed, 19-year-old Alicia (played by Joghis Seudin Arias) flees to La Cocha, a marshland village surrounding a lake in the Andes, where her uncle Oscar (Julio César Roble) runs an inn. The Inn, La Sirga ("towrope"), is falling apart, and when Oscar reluctantly allows her to stay, Alicia helps the housekeeper Flora (Floralba Achicanoy) fix it up for the coming tourist season. Alicia befriends the boatman Mirichis (David Fernando Guacas), who seems to survive on scant delivery jobs in the desolate region. Alicia is worried that the violence that devastated her hometown will come to La Cocha too, but no one calms her fears. The few townspeople we meet are laconic, as is the film itself. Much of the film's appeal is in the bleakly beautiful scenery of fog and marshland, and the ramshackle inn that Alicia and Flora slowly bring to life for tourists who never appear.

To fully appreciate the film, it helps to understand that Colombia has the highest displaced population in the world, with millions of people forced out of their towns and villages by the war between the government, the guerrilla group FARC (Revolutionary Armed Forces of Colombia), the drug cartels, and various groups that have splintered off from FARC. All of this is suggested by the abrupt appearance of Oscar's son Fredy (Heraldo Romero), who shows up one day and tries to persuade his father and Alicia to leave the village. He scoffs at his father's communal labor project, and seems to bear hostility toward Mirichis. That's all I can say about the plot.

As for the indigenous content, Alicia, Flora, and Mirichis look sort of indigenous, though the only way we know for sure is from the director's comments in the "Making Of" feature on the DVD. In fact, more indigenous actors appear in the "Making Of" than in the film itself. The filmmakers also refer to myths that inspired the story, and even explain that the lake is sacred and that a shaman had to bless the lake before they could film there, though it certainly does not seem to sacred to anyone in the movie. All of this leaves one wondering how much was left out of the final product.

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Film Movement page:

Sinopsis en español:
Alicia está desamparada. El recuerdo de la guerra llega a su mente como amenazantes truenos. Desterrada por el conflicto armado intenta rehacer su existencia en La Sirga, un hostal decadente a orillas de una gran laguna en lo alto de Los Andes que pertenece a Óscar, el único familiar que conserva con vida, un viejo huraño y solitario. Ahí en una playa fangosa e inestable buscará echar raíces hasta que sus miedos y la amenaza de la guerra reaparezcan de nuevo.

(Wind Journeys)
Director/writer:Ciro Guerra
Cinematography:Paulo Andrés Pérez
Music:Iván Ocampo, Marciano Martínez
Year/length:2009. 117 minutes.
Setting:various towns & villages along Northern coast, 1968
Language:Spanish, some Kogi
Native Content:low
Released on:DVD
Rating: lousy ok good very good excellent

Ignacio Carrillo is a legendary accordion player who decides to give up playing after the death of his wife and return his instrument to his teacher, Maestro Guerra, whom he has not seen in years. As he sets out for the remote Guajira region of northern Colombia, a teenage boy, Fermin, impulsively decides to follow him, asking Ignacio to teach him. The grim, taciturn Ignacio refuses, but Fermin continues to follow him, and they trek through various small towns and countrysides. As their journey takes them to farther and farther regions, through mountains, deserts, prairies and beaches (all beautifully captured in widescreen aspect ratio 2.35:1), we learn that the young man and old are on similar yet opposite quests. Fermin reveals that his father was a musician who used to play with Ignacio. He has left his mother and girlfriend in a wild attempt to reconnect with his father by following this grumpy old man who just wants to be left alone, and is seeking his teacher in order to bring his musical career, and his life obligations to a close. Towards the end of the movie they reach the Sierra Nevada, where Ignacio collapses from exhastion. They are rescued by the Kogi, a mountain-dwelling people who have always maintained independence from whites. These mysterious people restore the ailing Ignacio to health. Ultimately the pair reach their destination, the Guajira peninsula, where they encounter Wayuu Indians. The scenes with indigenous peoples are brief but fascinating, adding more wonder to this mesmerising, masterful film. Director Ciro Guerra says he made Los viajes del viento in part to introduce audiences to another side of Colombia besides the drug and gang scene so often shown in movies. He has succeeded brilliantly, and his achievement is one of the finest Colombian films ever made.

Ignacio: Marciano Martínez (a professional accordion player in real life)
Fermin: Yull Núñez
Guajira woman: Erminia Martínez

Sinopsis en español:
Ignacio Carrillo, un juglar que durante años recorrió pueblos y regiones llevando cantos con su acordeón, toma la decisión de hacer un último viaje, a través de toda la región norte de Colombia, para devolverle el instrumento a su anciano maestro, y así nunca más volver a tocar. En el camino, encuentra a Fermín, un joven cuya ilusión en la vida es seguir sus pasos y ser como él. Cansado de la soledad, Ignacio acepta ser acompañado, y juntos emprenden el recorrido desde Majagual, Sucre, hasta Taroa, más allá del Desierto de la Guajira, encontrándose con la enorme diversidad de la cultura caribe y viviendo todo tipo de aventuras y encuentros.


Director/writer:Cristina Escoda
Cinematography:Camila Jiménez Villa
Music:Renou, Kiritchenko, Cobra Killer
Year/length:2010. 18 minutes.
Setting:La Guajira
Language:Spanish; a few lines of Wayuunaiki

A senator travels to the remote region of La Guajira to pick up a newborn baby that she has paid for in advance. When she arrives, she learns that the Wayuu girl she paid had twins, and that the girl wants to keep one of the babies. The senator insists on taking both babies. This well-made short film has won several awards at the various festivals where it was screened.

Sinopsis en español:
La doctora está nerviosa. Ha estado esperando este momento durante mucho tiempo y siente la tensión. Su chofer, Nelson, un wayuú que lleva trabajando para ella varios años, es su contacto. Él la guiará hasta el pueblo de la Guajira donde una joven wayúu ha accedido a venderle el bebé que lleva dentro. Al llegar a la ranchería, la joven wayúu ya ha dado a luz a un bebé hermoso. Pero Nelson presiente que las mujeres de la ranchería esconden algo.

(Eskwe Means Hummingbird)
Director:Mónica María Mondragón Triana
Cinematography:Juan David Velásquez
Music:Olga Walkiria
Year/length:2010. 17 minutes.
Native Content:medium

A little girl named E'çkwe lives in a house of prostitution where her mother works. None of the other women know the mother's name and they simply refer to her as "La India". Slowly the little girl becomes aware of the nature of her mother's work.

Sinopsis en español:
Narra la historia de una niña indígena llamada Eçskwe, y La India, su madre, quienes llegan a vivir a Hawai Show 2000, un burdel de carácter popular. La niña se confronta progresivamente con el universo social del burdel y sus habitantes cotidianos: los niños que al igual que Eçkwe viven allí, las mujeres que trabajan en el lugar, los clientes, los curiosos.

Directors:Giuliano Cavalli, Jorge Mario Suárez
Writer:Jorge Mario Suárez
Cinematography:Giuliano Cavalli
Year/length:2011. 13 minutes.
Setting:Sierra Nevada, Santa Marta, the future
Native Content:high
Released on:Vimeo

Gonawindúa is the most important peak of the Sierra Nevada de Santa Marta. For the Kogi, is the center of the planet, the Origin of all things. The mission of the Kogi as Elder Brothers is to Protect it from the ignorance of the Younger Brothers, the non-Kogi, Whose irresponsibility with mother nature has provoked the rage of Sezhankwa, the Creator. Kankuemaku, an old Mamo (Shaman), entrusts his young apprentice Cenkui to make a payment in one of Their sacred territories. In the future, a couple years beyond 2088, the consequences of our acts will be seen. The complete film is available on Vimeo:
(subtitles in English, Spanish, German and French)

Facebook page:

Sinopsis en español:
Luego de una adivinación, Kankuémaku, un viejo Mama Koggi encomienda a Cenkui, su joven aprendiz a realizar un pagamento (trabajo espiritual) para cancelar las deudas con la naturaleza en la línea negra. Su camino es la manifestación del recorrido del agua desde la pureza de los cerros hasta el mar, recorrido que ha sido manipulado por el hombre blanco que paulatinamente ha ido poblando de manera irresponsable la Sierra Nevada de Santa Marta considerada por lo Koggis el corazón del universo.


Carlos Gómez y Geodiel Chindicué. 2013, 43 min.

Docu-ficcion. El relato ocurre en Tierradentro, territorio nasa, cuando el volcán nevado del Huila ha despertado tras un largo descanso. A través de un sueño, el abuelo Volcán envía un mensaje, pero la gente necesita la ayuda de un thë' walla para interpretarlo. Abandonado por el Estado, el pueblo lucha por una vida digna y un niño recibe enseñanzas de los mayores de su comunidad. Esta historia combina elementos documentales y de ficción para cuestionar las creencias sobre la realidad y los sueños, y sobre la dinámica detrás de los sucesos naturales.

Vandreé Julián Palacios Bucheli, 2013, 6 min.

El caminante es un ser que vive en constante búsqueda de aquel lugar en el que ya ha estado. Una llave abre todas las cerraduras hacia el estado onírico en el que se encuentra hechizado. Cuento Kamëntsá.

Carlos Moreno, Lucas & Matias Maldonado, Maria Gamboa, Jorge Navas, Javier Mejia, Spiros Stathoulopoulos. 2016. 94 min.

Six short stories about the Amazon: A man struggling against nature. A community outreach through humor. A student working on her thesis while her tutor tries to seduce her. A Spanish explorer of the time of the conquest experiences the grandeur of the forest. A man is rescued by his daughter from an empty existence. And in an alternate reality, the actor Klaus Kinski is killed by an Amazonian leader.

Andres Tudela. 2018. 17 min.

Bernarda, an 82-year-old peasant woman, must face the loss and mourning of her husband, one more victim of a war that cannot be seen, but that is felt. A war that comes down like mist from the top of the mountain leaving everything blank in its path.

Alejandro Kerk, 1962.

Based on the 1946 novel by Guillermo Edmundo Chaves on life in the mining town of Nariño in the 30s and 40s. Both the film and the German-born director disappeared.
Retrato de la vida de los trabajadores de unas canteras de piedras, situadas en el suroccidente del país. Basado en la novela homónima de Guillermo Edmundo Chaves.

David David, 2019

Amid a political crisis on the border between Colombia and Venezuela, Diana Ipuana, a young pregnant Wayuu woman, her husband, and brother make a living robbing travellers who cross the border along the backroads. After tragedy strikes, Diana must fend for herself as she gets lost in a series of mysterious dreams.

Duván Anderson Calambás and Esteban Garavito Poveda. Docu-ficción. 80 min. 2013.

Este es el viaje que un joven misak emprende de la mano de una mayora líder del pueblo guambiano, Jacinta Muelas Hurtado. Durante un recorrido por el paisaje caucano y su historia, Duván conoce más acerca del valor cultural de su pueblo, de sus orígenes y sus luchas: ayer, frente a la invasión europea por las riquezas minerales, las tierras y la libertad; hoy, frente a las multinacionales y las políticas agrarias, en defensa de la soberanía alimentaria, para enfrentar la crisis que se avecina.

Grupo de realizadores del Pirá Paraná. 25 min.

Representa un mito, contado para niños, sobre la cacería de hormigas en la noche. Es también el encuentro entre el diablo y el hombre. Los realizadores son de pueblos Macuna, Tatuyo, y Barasano.

Guillermo Prieto, 1991, 27 min.

The Chami Indians enact a tale of a mestizo man's efforts to recover his Indian heritage.

Elizabeth Pirela y Luis Misael Socarrás Ipuana. 2008, 27 min.

Elieser, un niño pastor de ovejas, se conoce con Andreina en el pozo donde sacan diariamente agua para el consumo humano y de los animales. Ya con tanto tiempo de conocerse, un día el niño le dice a su padre que él está enamorado de Andreina y que quiere que cuando ella sea señorita la pida en matrimonio para él.

Cristian Arcos and Cineminga Collective, 2011, 14 min.

La vida de Narcisa cambia cuando fuerzas militares oscuras irrumpen en la tranquilidad de su aldea y matan a su abuelita. Narcisa y los habitantes del pueblo Pastos emprenden camino sin rumbo fijo. Pero el espíritu de la abuelita se le aparece a Narcisa para guiarla al lugar donde deben construir un nuevo pueblo. El canto del gallo que lleva consigo dará la señal.[A grandmother's bird song is a message of peace for a new village settlement.]

Nadia Menco and Lucie Tripon, 2015, 8 min.

A little girl from the rainforest runs away from home to look for a pink dolphin that she had dreamed about. At the same time on the Amazon River, a hunter decides to kill the last pink dolphin on earth to fulfill his desires of power and wealth. A group of indigenous people finds the little girl frustrated and sad because the river is polluted, the entrance of the river is blocked, and there are no pink dolphins left in the river. The indigenous takes the girl through a secret way in the jungle to find the Amazon River. Once they reach the shore, a woman spirit appears with the little girl and starts a ritual dance with the indigenous people so the girl can become a pink dolphin. The indigenous people and the woman spirit punish the ambitious hunter for the rest of his life.

Cineminga Collective, 2010, 38 min.

Esta docu-ficción recontruye la historia de Manuel Quintín Lame (1880-1967), uno de los grandes líderes del pueblo Nasa, quien defendió incansablemente los derechos de las comunidades indígenas y atravesó múltiples dificultades por la defensa de los pueblos. Es en el contacto profundo con la naturaleza en donde se halla la raíz de su conocimiento y es en la memoria de la comunidad que se mantiene vivo su pensamiento. Manuel Quintín es nuestra historia viva y presente. Esta realización fue el resultado de talleres de Cineminga en Tierradentro. El video combina técnicas documentales y puestas en escena para transmitir la comprensión no lineal que tiene el pueblo nasa de la historia. El thë' walla (médico tradicional) Pío Quinto Oteca, personifica a Lame en la pantalla.
Available on Youtube:
With English subtitles:

Carlos Tribiño Mamby, 2019, 79 min.

Anselmo, un niño de 11 años de edad, persigue el cuerpo de un hombre que flota en el gran río selvático. Epifanio, un campesino de alta montaña espera el inminente ataque de los desconocidos. Anselmo, en su travesía por las riberas del río, se encuentra con situaciones insólitas e incomprensibles que ponen en evidencia el comportamiento de los habitantes de la zona; el perseguir a ese cuerpo lo expone a una trágica realidad y despierta en él la confusión, pero también la compasión. Epifanio resiste, sus dos únicos vecinos de las montañas también; la dignidad y el arraigo a su tierra les da el coraje.

Ana Camilla Jaramillo, 2020, 14 min.

In a Wayuu community, Iwa, daughter of an Outsü (a Wayuu dreamer at will), embarks on a journey of childhood memories after the death of her mother. The dream visions that her spirit sends to her, will help her understand the importance of the Outsü in her community and reconcile her with her spiritual legacy. In Wayuunaiki.

Jorge Lozano & Alejandro Ronceria, 1993, 21 min.

The story of a young native man from Colombia living in exile in Canada.
Historia impresionista sobre las experiencias de un jóven indígena de Colombia viviendo en exilio en Canadá.

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