La sirga

Very moody, very drawn out, very slow paced, not much happening, and it works. These are not negatives in this situation. It is a very slow movie in that it just shows daily life of the characters and we are told what happened with very scan dialogue.

I cannot say how realistic it is because of where the movie is set, so people might behave like that over there for all i know. To me it feels very different and very strange, but that makes it draw you in. I find the characters interesting what else can i say here. For how little happens, it is not boring.

Why am i knocking it down after all. I do not like the ending. It feels very abrupt, absolutely pointless, with no closure of anything. And i understand that this might very much be the whole point of it all. Life doesn't change there. You come, you go, it all remains. Everybody is insignificant and if that is what it was going for, it portrayed it fine. However i am not sure because of just how abruptly and unfulfilling in ends. Regardless of what meaning we can cope with in our minds here, factually it is a bad ending. Just... poof The end. Ok.

All the little subplots and little things that they fed to us throughout and also ignored. Nothing comes to fruition, nothing is really expanded on.. This gives me the classic soviet movie vibe when i think about it... This is the movie this is the dialogue (scant), this is the setting. And this is the end. And you will not complain comrade!

Right, as i said i will not try to give this a deeper meaning and make up things in my head like some others who are trying to pump this up as some masterpiece (it is not). At face value, this is a moody drawnout nothingburger with a bad ending.

5/10 it's how it is. You do not have to agree but if you remove your inherent desire for this to be something more than what was shown, there is nothing there. There really isn't. I would not have minded if this was 4 hours long, but 90 minutes and credits out of the blue.. just like that.. no. NO. This is not how it is done.

Though there is obviously conflict in the fabric of this film (Alicia arrives at her Uncle's home having fled the burning of her home and the murders of her family), the film is not about those conflicts, and if you enter this film expecting confrontations and resolutions you will be disappointed. The film is about more even than Alicia's reaction to conflict; it is not just a portrait of PTSD, though that is certainly in there as well. It is about the journey through life in a world of mystery and peril. Even nature herself seems quietly malevolent, a participant in the turmoil that boils beneath the surface. Tufts of weeds move about autonomously, as if participating in the smuggling of arms among the factions of humans who do battle just out of sight. It is about the abandonment of hope and wisdom under the weight of the soggy fabric of reality. Alicia buries candles in the muddy banks of the river when she sleepwalks at night.

In the end, it would be easy to get distracted by questions about who killed whom (though the clues are there if you are interested), but from Alicia's point of view that is a meaningless pursuit. The only distinction between the two sides is the color of the armbands, and she didn't even notice which armband army killed her family. She just knows deaths happened, home was incinerated, and it's time to move on.

This film is very carefully crafted and it is much more of a poem than a novel. It has been several days since I viewed it, and I could not have written about it on the first day. It needs time beyond the time it takes to watch it, and if you give it that time it will reward you richly. It seems to me that the negative reviews share a tone of impatience, a need for the film to tell all, answer all the questions, move from point A to point B in a clear line. If that is your taste, there are many fine films that do that, but this is not one of them. I once took a friend to see Taxi Driver, and he was upset because he was expecting a film adaptation of the sitcom Taxi. His expectations and disappointment had no bearing on the quality of the film that we actually did see, a masterpiece in every way. Same lesson applies here: don't go in expecting it to be something it is not. If you do, you will totally miss this poetic masterpiece.

(2012) La Sirga/ The Towrope (In Spanish with English subtitles) DOCU-DRAMA

Written and directed by William Vega, that showcases Alicia (Joghis Seudin Arias) walking through the marshes alone and by herself around La Cocha. And after she walks past one wooden shack or stilt house, she then passes out. Boater, Gabriel Mirichis (David Guacas) happens to be bringing Alicia we find out later to her only remaining relative she knows about is her uncle, Don Oscar (Julio César Roble) as the other family members are deceased. Oscar also has a son, Freddy (Heraldo Romero) who eventually shows up down the line. "La Sirga" is the name of the stilt house, Oscar is letting his niece, Alicia staying at. And it is not long before she contributes to the household with helper, Dona Flora (Floralba Achicanoy) and sometime down the line, both her cousin, Freddy and Gabriel try to motivate her to leave, but it is like where can she move to, whereas her cousin is not doing any better.

There isn't actually a plot to speak about except that it can be viewed as a docudrama. You can either be bored by watching this, or be fascinated by the importance of unity with the little resources this small group of people have, and if I was not bored watching this on documentaries I won't be bored watching it as a feature film.

LA SIRGA ('The Towrope') is a stunningly beautiful little film from the mind and pen and direction of William Vega, a California-born graduate in social communications from the University del Valle in Colombia, who mastered in film and TV scripting at the TAI College of Arts and Entertainment in Madrid. Vega has subsequently served as a university teacher, director, screenwriter and assistant director for film, video and TV projects. In 2010, he was assistant to Oscar Ruiz Navia on the latter's Berlin award-winner Crab Trap. Though he has created several short films - Amnesia (2001), Sunrise (2003), Tricolor Soccer Club (2005), Juan Mochilas (2011) and Simiente 2012 from which he developed La Sirga), LA SIRGA is his first feature film and it is a dazzling success. Vega has said, 'Writing La Sirga originated from my being seduced by the thought of a peripheral geographic location unknown to Colombians and the world. The manifestation of wonderment from the people of that area goes way beyond the space itself. Farmers with an Indian legacy are today ideologically insistent to maintain their traditions, for a clean and transparent relationship with the land and their brothers, so that it may extend throughout time and beyond space. Families and neighbors construct admirable lives in the midst of a country suffering conflict, hunger, inequality and war. This is a community with a proposal to transform thinking and relationships, which other brothers are unaware of, brothers who hurt and bleed the earth dry. Years ago I was working on a TV documentary series. I traveled through remote areas of Colombia, territories where socio-political problems and armed conflict have arisen for many years. In one of these places I found whole communities trying to rebuild their lives, making their existence around a beautiful lake. That was La Cocha, a sacred and inspiring site, full of symbols that dictated a story mixing real and imagined events. That was what shaped this fiction called La Sirga.'

From the opening views of the land and water of the high Andes it is clear that the political unrest that is driving the wandering girl is embodied in wind and water: those natural elements continue to play a central role throughout the film. LA SIRGA a mood piece - magical richly if vaguely evocative. A teenage Colombian refugee, Alicia (Joghis Seudin Arias) is a vulnerable 19-year-old woman who sleepwalks and tries to rebuild her life at an Inn located on the shores of a great lake in the Andes - La Cocha. She is running from the burning of her house and killing of her parents by unspecified hostile forces. Alicia spends her days working with Flora (Floralba Achicanoy) refurbishing the weather damaged inn to make it ready for tourists who never appear, with her uncle Oscar (Julio César Roble) and his son Fredy (Heraldo Romero). No one is very friendly and everything is tenuous but perhaps her greatest ally is Mirichis (the very handsome and gifted David Fernando Guacas), a young man who does errands on a boat and wants to go away with her. All is uncertainty ("I don't know" is the main answer to questions). It's all about metaphor, the dilapidated inn representing Colombia itself. But the place itself, the vast quiet lake and swampy borders and big plants, is also all very real, and conceals the secrets of the underlying strife that is ever present in the way this story unfolds. Watch the opening moments carefully: they hold many answers to the questions the film explores.

LA SIRGA is unquestionably one of the finest art films of the year and William Vega is obviously destined for an important future in the development of cinematic art. And the cinematography by Sofia Oggioni is breathtaking. Bravo to Film Movement for discovering and presenting a true little masterpiece. Highly Recommended.

Grady Harp

La Sirga, explores the growing potential of Colombian filmmaking. The use of the cinematographic language in this movie represents one of the basic filmmaking concept: "What isn't shown says more than shown" The constant use of insinuation generates an imaginary construction of comunication between the audience and the movie itself. La Sirga has a growing pain through the movie, a pain, that is insinuate and successfully introduce in the general plot and character plot.

It also explores the beautiful landscaping of Colombian territory as the movie takes place in the Cocha's lake, were the movie generates to the audience the felling of solitude, coldness and greatness of the lake, the development of the drama is extremely attached to the enviorment, the weather, the lake, the time. As the time and the space is dramatic, the movie becomes very photographic.