This scene is of great importance since it is the turning point of the story where the protagonist will begin his ordeal, not only in the face of the death of his wife, but also the challenge of offering her a decent burial in the midst of a context of great poverty.
Alcides and Giselle are dressing the body of Georgina, at that moment he has a revelation when he realizes the great odyssey that awaits him. The scene is charged with emotion, with a zenith light and a melancholic shot, which enhances the ritual of dismissing someone after their death.
In Cucunubá we find an enigmatic location, full of textures and colors, traditions with strong roots and the artistic gaze of textile design. To film this documentary, we took advantage of the subtle differences and mise en scene to represent each step of the wool journey; from the shearing of the sheep, the spinning, the creation of a haute couture garment and finally its exhibition on the catwalk.
This project is very special to me because I laid the foundations for a long relationship with the director, we managed to highlight each element very well with natural light and minimal interventions. The result, a film that seems more beautiful every day.
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Working with a director as experienced as Libia, who was also my teacher at the university, presented itself as an invaluable opportunity. It was an experience that allowed us both to find the language of this film despite our generational differences.
Ella, is a highly emotional film where the issues of poverty, age and gender are exposed, it was filmed in Ciudad Bolívar, in the extreme south of Bogotá. The black and white, contrast, and the quality of the light that we decided for our characters were some tools that allowed us to give dignity and beauty to this story; these results were possible thanks to Hermes Jurado, a gaffer with decades of experience, and all the rest of the crew that worked alongside me during the seven weeks of filming.