As part of the Locarno Film Festival, we had the opportunity to meet Manuel Ponce de León, a 32-year-old Colombian director, whose film Todos mis viajes son viajes de regreso recently had its world premiere. In an intimate atmosphere, within the library of the PalaCinema, he shared with us his unique vision of cinema and his relationship with memory. His artistic approach, rooted in nostalgia and memory, is inspired by deep interactions with the past and explores how these shape our present identity. His vision resonates through a narrative that intertwines the past with the present, offering a poignant reflection on the legacy we carry within us.
During the latest edition of the Locarno Film Festival, we had the opportunity to meet Manuel Ponce de León, a passionate young Colombian director who loves cinema and memory. His film, Todos mis viajes son viajes de regreso, addresses profound themes such as identity, nostalgia, and journeys, both physical and spiritual. During our exchange, he shared his artistic vision and how his personal experiences have influenced his work.
The Origins of a Filmmaker
Growing up in a creative environment since his adolescence, Manuel started by making short films with his friends. These projects, created in the simplicity of holidays in the countryside, were the soil of his love for cinema. At that time, they invented stories, filmed them, and edited them together. This passion for storytelling became a true catalyst for his future engagement.
After graduating, he found himself at an academic crossroads. Initially enrolled in anthropology, he decided to create a more ambitious film, requiring more seriousness and creativity. This project marked the birth of his production company, Los Niños Films, in collaboration with long-time friends. Thus, he was able to continue exploring the stories that fascinated him while developing his skills.
The Art of Memory in Cinema
The feature film he presents at Locarno, Todos mis viajes son viajes de regreso, is imbued with his reflections on memory and time. Manuel has experienced defining moments outside of his homeland, including a stint in Berlin. There, the loneliness of a harsh winter led him to reflect on his roots and his identity.
He particularly remembers a striking incident when a soccer ball accidentally hit him. This led to meeting a fellow Colombian, who gave him a CD of poems by León de Greiff. This moment highlighted the interconnection between his poetic universe and his reality. Rediscovering the voice of this poet, Manuel felt an intense nostalgia that profoundly affected and inspired him in the creation of his film.
A Film Rooted in the Present and the Past
The narrative of Todos mis viajes son viajes de regreso is constructed around two distinct temporalities, weaving a link between a living past and a contemporary present. At the heart of this creation lies the idea that memory shapes our identity. This echoes his own personal quest, namely: “Who am I?”
The characters in the film are inhabited by the memories of their ancestors, those who have preceded them in time. Manuel sees cinema as a means of navigating through these layers of life, allowing memory and imagination to meet. Each video conference in his narrative represents an exploration of identity and cultural heritage. The reinvention of the past is central to his artistic approach, reminding us that we are never truly alone in our reflections.
The Relationship with Time Through Cinema
One of the most fascinating schools of thought he addresses is his relationship with time. Manuel favors slowness, reserving extended moments to capture the sincere emotions of the characters. For him, cinema is an act of dreaming, a way to escape and redefine reality. The viewer is invited to contemplate and feel each moment, without interruption. The works of great filmmakers like Lisandro Alonso, Lav Diaz, or Werner Herzog have also influenced his way of seeing time on screen.
Manuel confides that this intimate approach, this highlighting of nature, nourishes his creative process. He aspires to create an authentic connection with the landscapes around him. His growing experience in this area has helped him understand that sometimes, the simplicity of a shot can be more evocative than a more loaded sequence.
Nature as a Backdrop
Nature plays a crucial role in his film, almost becoming a character in its own right. Far from being a mere backdrop, it evokes deep sensations and feelings. Manuel reflects on his Andean roots, illustrating that a well-established connection with the land can lessen the identity complexities that an individual must face. This relationship with the environment and landscapes is a celebration of his heritage, culture, and stories.
In the film, the heroine Petronella feels a deep need to touch and live her surroundings, embodying this connection. This perspective reminds every viewer of the necessity to take time to contemplate the beauty of the world around us. The rhythm of the film allows one to feel, savor each moment, and understand that all of this is essential to the process of identity construction.
A Rich and Eclectic International Cast
The diversity of the cast enriches the film, bringing different colors and perspectives. Manuel wanted to surround himself with actors representing various nationalities, reflecting his universal message. The importance of collective identity is manifested through the individual stories of the characters. At the heart of this cast is Denis Lavant, an actor whose aura and talent have fascinated the director.
Manuel shares that the discovery of Denis Lavant was the result of a chance meeting when his co-producer suggested that the character of Mollien should be portrayed by him. Despite initial apprehensions, this meeting was a success. While letting himself be carried away by the magic of the moment, Manuel was able to awaken in Denis a palpable interest in the project. The energy he brought to the set infused remarkable vitality and authenticity into the film.
The collaboration with actors whose stories resonate with those of their characters has woven a rich and engaging narrative. It is this immersion in multiple and diverse stories that gives Todos mis viajes son viajes de regreso all its depth and human richness. Each actor, by their presence, adds a new dimension, exploring together the delicacy of memory.
During our meeting with Manuel Ponce de León, it immediately became clear that his approach to cinema transcends simple storytelling to delve into nostalgia and introspection. His film, Todos mis viajes son viajes de regreso, is the result of deep reflection on identity, the past, and the reinvention of self. This feature film, woven around memories, invites us to understand how our roots influence who we are in the present.
The themes addressed by Ponce de León resonate strongly in the Colombian context, where historical and cultural scars are rooted in collective memory. Through narratives of journeys and personal experiences, he explores this intimate relationship between past and present, emphasizing that identity is a perpetual construction, shaped by the echoes of our ancestors. The director knows how to convey the complexity of this quest for oneself using poetic and visual elements that will capture the viewer’s attention.
Moreover, Ponce de León emphasizes the importance of nature in his creative process, revealing that cinema is much more than a series of projected images. For him, each shot and each sound are elements that contribute to the elaboration of a universal emotion. His approach to time in the film is designed to allow the viewer to experience a sensory experience, where every second is precious, where the gaze is fixed on sometimes forgotten details.
Manuel Ponce de León’s passion for cinema and his way of approaching memory as a form of art make him an exceptional actor on the contemporary scene. Through his work, he does not merely tell stories but also invites his audience to reflect on their own experiences and reconnect with what it truly means to “travel.” His vision allows for the reinvention of the artistic label and the apprehension of art from a more spontaneous and poetic angle.
