GENRE: Mock Documentary or Fake Docudrama

RUNNING TIME/DURATION: 95 minutes

FORMAT: 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 traffickers, guerrillas or paramilitaries for reckoning), and the illegal trafficking of
drugs and firearms. 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 film. He is able to carry out this venture
after a group of investors decide to give him financial 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
filming. 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 mafia in this sector of the city. A man so powerful
that his networks of influence have infiltrated the highest systems of control; with such a dark and
obscure profile 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 finds in the priest a confidant, 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 film, 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 influences amongst other things have made our lives more
entertaining.

The Petecuy project not only aims to make films. 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 film 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 film 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 film 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 film makes friends of us all.
CAST & CREW

DIRECTED BY
Oscar Hincapié Mahecha

Colombian film 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 filmography includes, amongst others, LA GRAN
APUESTA, a short in which God and the devil fight 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 first 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 film project.

DIRECTOR OF PHOTOGRAPHY
Iván 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 films 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 film projects, most
of which are shot in the Cine Alta RedOne format, that include the documentary
ERNESTO GUEVARA and the feature film PETECUY, LA PELÍCULA.
 FIRST ASSITANT DIRECTOR: Ana Cristina Díaz Arboleda
SCREENPLAY: Oscar Hincapié Mahecha y Ana Cristina Díaz Arboleda
PRODUCTION COMPANY: Fundación/Productora Pandebonium
PRODUCER: Vannithy Montero
PRODUCTION MANAGER: Luís Alfredo León Calle
EXECUTIVE PRODUCER: Rafael Araujo y Vannithy Montero
FIELD PRODUCER: Carolina Martínez y Carolina Izquierdo
PRODUCTION DESIGN: Ana Cristina Díaz Arboleda
DIGITAL INTERMEDIA TRANSFER: Adrían Rodriguez Navas y Ana Cristina Díaz Arboleda
HEAD GAFFER: Carlos Muñoz
CRANE OPERATOR: Francisco Ortíz
SPECIAL EFFECTS: Go Effects Ltda
SPECIAL EFFECTS DIRECTOR: Gonzálo Pazos
ART DIRECTION: Ana Cristina Díaz Arboleda y Hernán Camilo Barreto
SPECIAL MAKEUP EFFECTS: Gonzálo Pazos y Hernán Camilo Barreto
SET DESIGN: Juan David Bernal
SET DESIGN: Andrés Triana
ACTING DIRECTOR: Juan Calderón
CASTING DIRECTOR: Cesar Duque Mejía
SCRIPT SUPERVISOR: Lina Fernanda Cadavid Ordóñez
STILL PHOTOGRAPHER: Juan Ignacio Muñoz
SOUND: Alejandro Sierra y Hernándo Tejada
MOVIE SOUNDTRACK: Humberto Pernett, LA DINASTÍA,
Gustavo Díaz ¨The Producer¨, FLOW DA KILLA, Diamantino,
L Gamín, OST by El Ritmo Records Aut: Jiggy Drama
MUSIC SUPERVISOR: Francisco “Mono” Henao, Luis Caparrozo
EDITOR: Habacuc Rodríguez Navas
POST-PRODUCTION: Black Diamond Productions
GRAPHIC DESIGN & ANIMATION: Jorge Barney, Tiempo de Cine
BRANDING: Michael Marmolejo G y Estephania Corbelletta B.
PUBLICIST: Jose Reyes, Boom Creative
MEDIA RELATIONS: Nadya Hernández y Vannithy Montero

NATURAL ACTORS:

Steven Leider Jhonatan Alexander Edwin

Quiñones Abraham Jhon Steven Angulo Duvan Sandoval Jhonni
Portocarreño Villada Jairo lleras Caicedo Villa Edilson Ríos Minota
“Titi” "El Zarco" Garzón “Monedita” “Alex” “Chapas” Huérfano “Vivi” “Costeño”
CESAR MORA
The 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 film; A movie where a film director
conducts his cinematographic body of work in Petecuy. During this endeavor his
film 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 film
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 film 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 ERRÁZURIZ
Donal

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 influence have infiltrated 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 HERNÁNDEZ
Salomé

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 figure 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 conflict.
Salomé is portrayed by Vanessa Hernández, a Cali born actress who is making her
first incursions in the big screen after debuting as a television presenter in Cali.
HÉCTOR ALEXANDER GÓMEZ
Gorduales

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 finds 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 film debut with PETECUY, LA
PELÍCULA.

MAURICIO BASTIDAS
Chancleta

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 BUENAVENTURA
President of the Board

He is the person who represents the government, and is in charge of approving

sponsorship and backing of film 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 first 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 specific 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, benefittedwith 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 trafficking
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 affirm art, not only as a means of expression, but also as a dignified 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 fictional 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 offices 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 film.
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 fights 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 first 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 first 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 film 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 STYLE
BY
Ana Cristina Díaz Arboleda
SCREENPLAY/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 define 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 financial 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 financial 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 fictional 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.
 “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)

TEXT EDITOR

Nadya Hernández
Ana Cristina Díaz Arboleda
Vannithy Montero
Alejandro Cabal
Maria Antonia Otoya

PHOTO

Juan Ignacio Muñoz

Carolina Izquierdo
Carolina Martínez
Andrea Vaca
Michael Marmolejo G.

LAYOUT AND DESIGN

Michael Marmolejo G
Estephania Corbelletta B.