Profiles

Here you will find the profiles of directors, producers, audiovisual producers, actors, technical staff, etc. That by their trajectory and recognition have a prominent place in the national cinema.

Director, Actor / Actress, Director of photography, Edition, Executive Producer, Investigation, Producer, Screenplay, Sound

Luis Ospina

www.luisospina.com

Born in Cali on June 14, 1949, Ospina studied film at the University of Southern California (1968 - 1969) and the University of California at Los Angeles (1969 -1972) in the United States. He is known for his work as a director, but also for running a film club and co-founding several film-related magazines. In 2010, the Colombian Ministry of Culture, together with an international jury that included Peruvian Claudia Llosa (nominated for an Oscar for her film La teta asustada); Spanish film critic Manuel Pérez Estremera, and Argentine Diego Dubcovsky (producer of the films The Motorcycle Diaries and El abrazo partido) awarded Ospina the Lifetime Achievement Prize, which Ospina accepted saying: “In the words of Jean-Luc Godard, filmmaking is not a way of making money; it’s a way of spending it and that’s what I intend to do with this prize.”
 
In referring to his connection with filmmaking, he stated: “Although I pride myself on having a cinematic memory, I can’t remember the name of the first film I saw; I think that ever since I can remember, the movies have always been in my heart. And in my home. My father not only took home movies of our family life; he screened movies as well, in an improvised garage in our home – he rented Hollywood films to entertain our family and the neighbors. My next-closest ally in responsible for supporting my love of films were our maids. Every Sunday, religiously, the maid on duty would take my siblings and me to the movies. Thanks to this early stimulus, by age 14 I had made my first short film “Vía cerrada” (1964) with my father’s camera”.
 
Ospina and Andrés Caicedo co-directed the Cali Film Club (1972-1977) and co-founded the film magazine Ojo al Cine (1974-1977). Film critic for a number of publications including Ojo al Cine, Kinetoscopio, Arcadia, El Pueblo, El Malpensante and Número, Luis has also taught at Universidad del Valle, Universidad Javeriana and Universidad de Los Andes. He directed the La Tertulia Film Club at the Museum of Modern Art in Cali (1986) and in 2009 became the artistic director of the Cali International Film Festival. Ospina received an Honoris Causa Degree in Communications and Journalism from the Universidad del Valle (2008); the “Manuel Murillo Toro” Medal of Merit in Communications from the Colombian Ministry of Communications (1986); the Medal of Cultural Merit in Film Culture from the Cali International Art Festival (2001); a Trophy from the II “Cinmilímetros” Film and Video Festival in Cali “for his valuable contribution to the Colombian film industry” (2001); a Cultural Creation and Administration Award from the Colombian Ministry of Culture (2002); and a Trophy from the Santa Fe de Antioquia Film Festival (2008).
 
My films are a product of the 60s and 70s. I graduated from high school during that very memorable May of 1968 and left Colombia to study film in California, first at USC and then at UCLA. As you know, these were rebellious, revolutionary times all over the world. During my four years of study I participated in student movements and attended Marxist and anarchist study groups. I also collaborated on several militant films made when the film school students at UCLA went on strike and took over the university equipment. We all thought we could change the world.”
 
Ospina’s many short films include Acto de fe (1970), Asunción (1975), Agarrando pueblo (co-directed with Carlos Mayolo, 1978) and En busca de “María” (co-directed with Jorge Nieto, 1985). He directed the feature films Pura sangre (1982) and Soplo de vida (1999) and over thirty documentaries including Andrés Caicedo: unos pocos buenos amigos (1986); Al pie, al pelo y a la carrera (1991); Nuestra película (1993) and La desazón suprema: retrato incesante de Fernando Vallejo (2003). His latest productions include Un tigre de papel (2007) and De la ilusión al desconcierto (2007), a series about the history of Colombian films from 1970 to 1995. He also edited the feature films Carne de tu carne (1983), La Mansión de Araucaima (1986) by Carlos Mayolo, La sociedad del semáforo (2010) by Rubén Mendoza and other short films. His work has been recognized at major international festivals and retrospectives of his work have been organized in New York, Caracas, Toulouse, Barcelona, Madrid, Cali, Medellín, Barranquilla and Bogotá.
 
In 2007 he published the book “Palabras al viento, mis sobras completas” (“Words in the Wind, the Complete Leftoeuvres”), an anthology of his film essays and reviews and articles published in “Cuadernos de la Cinemateca Andrés Caicedo: cartas de un cinéfilo” (2008). He co-edited with Sandro Romero Rey the books “Destinitos fatales” (1984) and “Ojo al cine” (1999) by Andrés Caicedo. 

Filming