Latin American highlights - Clermont-Ferrand FF 2025: Lanawaru

A boy learns from his grandfather how rituals in the rainforest are important to maintain the balance between humans and nature.

Absolutely mesmerising and compelling film driving home the importance and urgency of the essential work carried out by indigenous communities protecting the environment.

Where did the idea for the film come from?

The idea for the film began when, together with the NGO Conservation International, we discussed making a movie in the Colombian Amazon about conservation. I made my first trip to the Amazon, where I met with indigenous communities who were involved in species conservation in the Lower Caquetá region. During my initial talks with them, they explained that for any film made in the area, I needed permission from the traditional healer of the community, “Don Alfonso.” After meeting with him, he shared with me his practices in healing and protecting the territory, which became the main origin of the film.

Can you tell us about the shooting process and location?

The filming process had several unique aspects that I’d like to highlight here. In recent years, the self-governing systems of the Amazonian indigenous communities have been strengthened as part of social and cultural resistance in the region. As a result, the making of the film followed these principles of governance and decision-making. On one hand, the story was developed in collaboration with them; their anecdotes, cultural and spiritual connection to the land, and their social dynamics inspired the film, with a focus on capturing the atmosphere of the place rather than explaining it. On the other hand, the film’s production followed the same system they used for organizing their meetings: catering, transportation, fishermen, translators, and the cast were all equally shared among the communities involved, creating an intercultural balance in how the film was made.

The film was shot in a sacred conservation area called Puerto Caimán, where two communities are working to conserve species like the black caiman. It’s also near indigenous communities that remain voluntarily isolated, often referred to as "uncontacted tribes." To enter the territory, we had to undergo a healing and protection process, in which the entire filming team participated.

What hurdles did you face?

I believe that every creative process faces challenges, but one major obstacle occurred two days before filming began. Our protagonist at the time, “Don Alfonso,” the traditional healer of the indigenous reserve, had to leave urgently and had to withdraw from the film. This raised alarms, and we had to quickly take a boat to the house of another traditional healer, who welcomed us into his home before the sunset. We asked him if he could take on the role of the traditional healer in the film. It was undoubtedly the best decision, and sometimes things happen the way they need to.

What is your background as a filmmaker?

I started studying film in Colombia and later at the ESCAC film school in Barcelona, where I specialized in cinematography. I’ve been making films as a director of photography and director for at least 15 years, focusing on documentaries, hybrid films, and fiction.

What stories would you like to tell next?

I have several projects in development, but two directions I’m exploring are: A feature film that would allow me to continue making movies in the Amazon, and redefining production models in collaboration with the communities there. Co-writing, co-creating, and co-learning interculturally throughout the creation process. On the other hand, I’m working on a more personal fiction film about the idea of returning home. It’s like Homer’s Iliad, but not about returning to a physical place, but to a state of joy, of childhood, which stays with us throughout life. For now, they’re just concepts and ideas, but my goal is to finish writing them this year.

What do you like about the short format?

What I appreciate most about the short format is the possibility of imagination. When I watch a short film, I like to feel the atmosphere, almost like a daydream, a fleeting moment that’s difficult to grasp right away and needs to settle after it’s over. That’s one of the strengths of short formats.

What are your hopes for the festival?

What interests me most about the festival, and film festivals in general, is that films become starting points for bigger discussions. They should encourage questioning, dialogue, and possibilities for imagination. I hope the festival provides spaces for this and also gives me the chance to meet people with whom I can collaborate on future projects.

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