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The movie does not show the whole country's way of living, but it shows the part some people would like to hide.

It is loaded with a lot of coursing and everything that could be considered as an unhealthy way of living, but in between all that descriptive stuff, it shows us the human side of those people.

One thing I liked a lot was the use of natural actors. The director and producer did the tough job of working with real life characters, so, everyone in the movie is just doing what he/she does in his regular life.

It tells us the story of Monica (a homeless teenage girl) who every day is fighting for her life in the scenario of an unsane capitalist world. It shows how her friends, who are mostly preteen prostitutes, muggers and hitmen are also human beings who deserve to live. Violence taking place everywhere, alcoholism, and drug addiction are just a small part of what living in the streets really means. Meanwhile, Monica takes care of Andrea, a cute little run away from home girl who is saved from many dangers because of Monica's astonishing maternal instinct.

As it is said by Seth in "City of Angels" : "Some things are real whether you believe in them or not".

The quote in the title is said by a child (one of Monica's friends) while he is inhaling some cheap glue with which homeless kids use to get high. It means : "Why should I want any shoes, if anyway I have no food?"

If you get offended easily I don't recommend this movie. If you like your movies with happy endings, you shouldn't watch this film. In the tradition of "Pixote" and "Kids", "La vendedora de Rosas" shows the reality and (hallucinations) of children, who grow up in the street, survive in the street and die in the streets. It features an array of indigent pre-pubescent kids doing an insane amount of drugs, prostituting themselves and living with/killing each other. The movie features no real actors. All the kids are playing themselves. Today, Colombian media reported that one of the actresses featured in the movie was found dead. She is the second actor who has died since the movie was released. I like the movie because it presents reality as is. It doesn't pretend to give us solutions or even explain why those kids have live the way they do. It's unflinching and more real than anything committed to film before or since.

La Vendedora de Rosas is a companion piece to Victor Gaviria's 1990 Rodrigo D:no futuro, about the lives of street boys from Medellin,Colombia. Vendedora focuses on girls equally affected by poverty, ignorance, abuse and neglect. It earns a place next to Mira Nair's Salaam Bombay and Hector Babenco's Pixote, excellent urban youth films in the tradition of Bunuel's Los Olvidados. Vendedora does not shy away from depicting the effects of drugs, violence, and family dysfunction while allowing for brief moments of tenderness and solidarity, even joy. Gaviria has enlisted street kids in enacting events from their daily lives, during 48 hours preceding Christmas. The film refuses to cheapen their plight with plot contrivances or stylistic flourishes. The spanish spoken is specific to the youth of Medellin, a welcome challenge to most native speakers. The fate of the characters evolves naturally from earlier scenes, without being predictable. I recommend La Vendedora de Rosas to anybody who considers film a window to the world of folks we wouldn't otherwise be able to access and an opportunity to understand it.

Some people in Colombia didn't like this movie because it shows the sad reality of the children in the streets, and because there are no professional actors playing the roles of these children but actually homeless kids. Make no mistake, this is a powerful film and no trained actor would touch your heart the way these kids do. The story is, of course, dark, violent and lacking a happy ending, but that's the kind of life the youth endures in the harsh Colombian streets.

A heart-breaking urban tale that makes optimal use of natural actors and improvisation, together with very basic photography,but doesn´t have any of the technical troubles of the director´s previous release, "Rodrigo D". It renders a very authentic look to city-living in Colombia, without misleading morals or boring social commentary. However, it´s lyricism sets it apart from any pretensions of "real" cinema.