ANOTHER COUNTRY: AFRO AND INDIGENOUS –AUDIOVISUAL HORIZONS IN COLOMBIA
MANOS VISIBLES: 15 YEARS FOR CULTURAL EQUITY
Reflections: Power, Potency and Ethnic Audiovisual Vanguard (2020-2025)
Prepared by: Jhon Narvaez, David Melo, Valeria Brayan, Deisy Mendoza and Paula Moreno with the contributions of more than three hundred visible hands that are part of this audiovisual movement.
Visible Hands - Bogota Audiovisual Market 2025
With the support of the Ford Foundation, Luminate and Proimágenes Colombia.
IN THIS 2025, WE CELEBRATE FIFTEEN YEARS AS AN ORGANIZATION
Fifteen years have taught us that diversity is not an abstract concept, but a reality built with concrete decisions, strategic alliances, and an unwavering commitment to equity.
Today we are creating our own referents. We are writing a new chapter in the history of Colombian cinema, one where equity is not a distant ideal, but a daily practice. A cinema in which we see ourselves, recognize ourselves and confront our distorted images of the country.
Revealing that we are not the other Colombia, but the future of Colombia.
Proving that minorities can be majorities.
Of dreams that seemed impossible and that today are reality.
Strategy
First Cohort of the Master’s in Cultural Power
Cultural Power Regional Workshop
Actúa Pacific
Video Dance Laboratory
YEARS
Making the margins our center
Incidencia -Mincultura
Category Feature Film Fund for Racial Equity
Desde la Raíz- Screenplay development laboratory
Second Cohort Master’s Degree in Ethnic Cultural Empowerment
Facing prejudices and breaking down barriers.
Loving a country that has often looked down on us, but that we continue to transform with love and resistance.
Third Cohort Master’s Degree in Ethnic Cultural Avant-Garde
First Co-Production- Las Visitantes
Bi-national School FOCO ll APAN-Visible Hands
Regional Ethnic Cultural Vanguard Workshop
Binational School FOCO l APAN- Visible Hands
Launch of the ERA Audiovisual Fund for Racial Equity
Screenwriting Lab - Hearing APAN Stories
350 100 75
3 members of the Visible Hands audiovisual network graduates of the Master’s in Cultural and Audiovisual Management and Production participants in the FOCO School of Audiovisual Production
An audience of over
100.000
winning feature films and 1 mention - Fondo Audiovisual para la Equidad Racial ERA (Audiovisual Fund for Racial Equity) people in our first visible coproduction
OUR FILM
ACT I:
What if we had other images? what would we think of ourselves?
Creating Our Own Referents
Transcending Representation: Quality, Awareness and Impact
ACT II: ACT III: ACT IV:
Manifesto: Towards a New ERA of Colombian Cinema
“The future is not expected, it is designed: how to be part of Colombian cinema is the question we have been answering from Manos Visibles.”
What are the reparations that the audiovisual, arts and literary industries have to make to Afro, indigenous and native peoples’ filmmakers? How much longer do we have to wait to feel part of a process where we can dream and live from our work?
The whitening of the stories is an obstacle to make the works be and respond to all audiences. Whiteness embodies in its discourse beauty, good manners, sweetness, education and elegance. She is clean, tidy, has good manners of expressing herself, maintains a discreet positivity in her attitude, is measured in her looks, gestures, and behaviors. It is a heterosexual, patriarchal, racist, modern, colonial and capitalist culture that promised us progress and happiness if we learn to adapt to it. But betraying us, since its dream is disturbed thanks to its own history. That old house, full of ghosts, where the monstrous are those bodies that he himself has left out in the schizophrenic attempt to make everything true and possible. That forgotten racism, the one that is lived in the north with more intensity, but that was distributed with titles of rights or benefits, that makes you feel ashamed for having a link to a world of non-European concerns, where we silence ourselves for fear of stigma, but few are held accountable for their nobility, for their benefit, for their lighter complexion.
Filmmaker from San Andres, member of FOCO Colombia-Brazil and Master’s degree holder from Manchester University
Ana María Jessies
ACT I:
What if we had other images? What would we think of ourselves?
Episode 1: The Silence of the Images
For centuries, ethnic voices were relegated to the margins, whispers barely breaking through centralized narratives. For centuries, the voices of ethnic communities were relegated to the margins, turned into whispers that barely broke the dominant noise of centralized narratives. In the cinema, this invisibilization was repeated like an echo: the screens projected a homogeneous country, where the stories of the others - blacks, indigenous, raizales, palenqueros - were omitted or, in the best of cases, told by those who did not live them.
In those years of silence, Colombian cinema became an incomplete album, a collection of images that portrayed only a fraction of the country. Ethnic communities began to appear, yes, but always from the outside gaze, as secondary characters in a script written by others. What was missing was not their presence, but their voice.
Episode 2:
The Distortion of the Mirror
Cinema - that window through which audiences peer into other lives - can also be a distorted mirror. Entire generations grew up watching films that showed a country where everyone was white or mestizo, where the dominant narratives erased the diversity that pulsates in every corner of Colombia. Exclusion distorted reality and shaped the collective perception: if you didn’t appear on the screen, did you really exist? How much value does your life have when you are not part of the visual narrative of your country? Does the nation understand that you are part of it? Does it recognize that it needs you to be complete?
Over the years, the struggle for representation gained ground. Stories began to open up to ethnic communities, but the road was not free of obstacles. If before the problem was total absence, now the challenge was another: homogenization. Thus, hegemonic narratives, which simplify and pigeonhole, reduced communities to stereotypes. As Lucía Mbomio
points out: “Before, the problem was that we did not exist in communications, now the challenge is to recognize that there are diversities and issues that make us part of society.... We are pigeonholed in everything: geography, tastes, dreams, and they don’t let us project ourselves and tell ourselves in unique ways.”
Episode 3:
The Stories We Haven’t Told
In this scenario, an essential question arises: what if we had other images? If ethnic communities could tell themselves from their own perspective, how would our perception of ourselves as a country change? The stories that are missing are many. Stories of resistance, of love, of struggle, of celebration, of encounters, of transformation and of hope. Stories that escape from clichés and show the richness of the diversities that inhabit Colombia. Stories that do not seek to fit into a mold, but to create new molds.
Cinema has the power to transform, to project new possible worlds, to break the silence and fill the voids. But for that to happen,
narratives must come from within, from the voices of those who have been made invisible for centuries. It is in those stories, told in the first person, where the real possibility for change lies.
Episode 4:
The Discovery of Another Country
Today Colombian cinema is facing a crucial moment. New generations of filmmakers, cultural managers and storytellers are beginning to rewrite the script. From the Pacific coasts to the jungles of the Amazon, from the palenques to the cities, voices are emerging that defy imposed limits, that broaden the horizon of what it means to be Colombian.
These new narratives seek to fill the gaps of the past, as well as to imagine possible futures. The challenge they face is, then, to build a country where diversity is not a footnote, but the heart of the story. Where the images projected on the screens reflect the complexity, beauty and contradictions of a nation that is still discovering itself.
As Gabriel García Márquez wrote in Vivir para Contarla, the real challenge is to discover the inconceivable country that is hidden within us. And to achieve this, we need other images, other voices, other stories. Because in the end, cinema is not only a mirror of what we are, but a hammer to shape what we can be, as Bertolt Brecht put it.
Episode 5: Colombian Cinema: From Existence to Transcendence
Law 814 of 2003, known as the Law of Cinema, transformed Colombian filmmaking. We moved from extreme precariousness to sustained growth: from just four films in 2004 to seventy-nine in 2024. However, behind these encouraging figures lies an uncomfortable truth: in more than twenty years and thousands of projects financed by the Film Development Fund (FDC), only seven Afro-descendant directors have been awarded in the feature film category.
Five of them emerged in the last three years, supported by Manos Visibles programs. These numbers are more than statistics;
they are a reflection of the structural inequalities that still persist because, although we have made progress, the challenge remains immense: equitable representation is not just a matter of quantity, but of depth, authenticity and diversity in the stories being told.
In two decades of the Film Law, there are undeniable achievements, but also urgent questions: What is the other country that we still do not see on our screens? What worlds are we missing out on by not allowing new narratives to flourish? Is today’s cinema truly representative of our diversity? Regarding these questions, Remedios Zafra reminds us in her book El entusiasmo:
“Those who dedicate themselves to creation know of the power of screens, image and writing to temporarily reverse so many absences and limitations. So many impulses to transform worlds that are born when we finally see ourselves also as fictions and in them we build ourselves in other ways. So much political power that we squander for being.”
Cinema not only tells stories, it constructs realities. At the Vanguardia Étnica workshop, Gerylee Polanco, one of the country’s most prominent producers and a member of Manos Visibles, put it precisely:
“We need to heart the stories and have greater diversity behind the scenes to build a truly diverse cinema.”
Rodrigo Grillo, former President of the Association of Black Filmmakers of Brazil and former Director of Audiovisual Innovation at the Brazilian Ministry of Culture, added an essential dimension to this reflection. He spoke about the need to affirm different subjectivities through a more critical and creative fabulation, one that narrates what already exists and imagines what could be.
On the other hand, directors of schools and production companies in municipalities far from Bogota insisted on a blunt truth: it is not enough to talk about cinema in the regions. It is essential to invest in infrastruc-
ture, decentralize production services and democratize access to technical and technological resources. Without these actions, narratives will remain centralized and voices on the margins will continue to be silenced. Cinema has the power to redefine our identity and our perception as a society. As Gilbert Ndi Shang emphasizes:
“Creative storytelling is imperative for a progressive reappropriation of power over our memories and our history. It allows us to rename and redefine ourselves in contexts where we are named and defined from alien, stereotypical and colonizing perspectives.”
Over the past five years, Manos Visibles has worked with a network of audiovisual leadership from the heart of diverse Colombia, in constant dialogue with the world. We have understood that, within the framework of the country, the government, and the state, with all its geopolitical implications, narratives remain hegemonic. Colombian cinema still has a long way to go to become a true mirror of our diversity.
However, the future is clear: we need to heart the stories, redistribute access to resources and affirm new subjectivities. Only in this way will we be able to materialize the transfiguration and vanguard of the Colombian audiovisual industry.
“We are going to make the films that we would like to see and create the physical archives that we don’t have. We are going to feel this creative path, from the weight but also the freedom of our polyvalent existence of what it is to be a black person or an indigenous person in the world. The beauty and the contradictory of having to deal with that responsibility.”
ACT II:
Creating Our Own Referents
Episode 1: Manos Visibles: From Power to Power, from Power to Vanguard.
Since its creation, Manos Visibles has worked with a clear and transformative purpose: to build a more equitable future, where culture is not only a mirror of our realities, but a hammer to shape them. Our 2020-2030 strategic plan defined a bold objective:
“Culture, as the main asset, will seek not only to change narratives but realities, as well as to give line in new development models, as well as in practices that define the educational, political, social and economic destiny of the country. We dream of a cultural sector that remains a retaining wall, but also a catapult for new forms of thought and action.”
This vision starts from a fundamental premise: the cultural sector is not only a space for representation, but an engine to generate concrete realities. From this idea, it is possible to imagine and build that which today seems inexistent or impossible. A few years ago, we took on a monumental challenge:
From Cultural Power to Cultural Vanguard. Our goal was to nurture a critical mass of cultural and audiovisual managers capable of leading a systemic change that would reduce inequalities. This effort was not limited to filling gaps in representation; it sought to put historically silenced voices in positions of leadership, so that they would be the ones to define the new lines of action. Today, many of these leaders are part of the teams of Ministries or Secretariats of Culture. Thus, it is clear that we do not seek to transform the systems from the outside, but to integrate ourselves into them and be an active part of the structures we want to transform.
In 2020, more than three hundred people gathered in an auditorium to discuss the future of culture and the arts in Colombia at our regional workshop to celebrate the first cohort of the Master’s in Cultural and Audiovisual Management. It was a moment of effervescence, a celebration of possibilities. But the world changed weeks later: the pandemic separated us, isolated us and tested us. In the midst of loss and uncertainty, arts and culture
emerged as a beacon of emotional and spiritual resilience, a certainty in dark times.
Today, four years after that meeting, we are beginning to reap the fruits of that gamble. What at the time was only an intention has now become a tangible and visible change. We celebrate what we have achieved, just as we envision a generational change that will mark the future. A new generation of artists, leaders and cultural managers is redefining Colombian cinema from the regions and from a multiplicity of diversities: ethnic, sexual, generational. From the Pacific, the Amazon, the Caribbean and large urban centers such as Bogota, Cali and Medellin, voices are emerging that do not represent a dream of a distant future: they are the present. These voices are drawing new narratives from diversity, challenging the restrictions imposed by history and opening paths towards the construction of another country.
This cultural vanguard forms an elite, not traditional, classist, or exclusionary, but transformative. For us, the elite is something di-
fferent: a group of people who lead profound transformations that reconfigure the ways of thinking, feeling and acting of broad sectors of society. It is an elite that uses the power of words, images and stories as tools to imagine and build more just and equitable futures.
Episode 2: Decisions that Construct Reality
Every image is a political act. Every decision made in a film - the light that illuminates a scene, the framing that delimits a gaze, the dialogue that is uttered or the silence that is kept - is an exercise of power. For decades, these decisions relegated black and indigenous communities to the margins, condemning them to invisibility or to alien, often distorted and stereotypical representations. These images shaped perceptions and perpetuated inequalities, reinforcing narratives that denied the diversity and complexity of these communities.
But today something is changing. A conscious vanguard is transforming the audiovisual into a space of justice and dignity. We understand that the audiovisual is not only a tool to tell
stories, but a field of dispute for the power of images. It is a space where every creative decision becomes an opportunity to repair, reimagine and dignify that which for so long has been omitted or distorted. Every image, every shot, every story has the potential to challenge imposed narratives, break with stereotypes and open paths to new realities.
In Manos Visibles, from our line of work Culture and New Narratives, we have been betting on this audiovisual revolution for five years. During this time, we have trained more than 300 leaders, filmmakers and cultural managers, accompanying them in training processes in master’s degrees and international schools.
At the same time, we have accompanied the writing processes of thirty scripts with the first alliance we made with the Fundación Algo en Común and Mincultura in the laboratory Desde la Raíz, and now with the Laboratorio Corazonando Historias with APAN. In this way, we have strengthened ten local production companies in territories such as Tumaco, Quibdó and Santa Marta, where stories are born dee-
ply rooted in the identity of their peoples. Projects such as Las Visitantes, our first co-production, and the four ERA Fund award winners are living proof of what can be achieved when talent finds the necessary support.
“Art not only documents experiences, but also designs power structures and constructs new ways of representing and being represented.”
For too long, racial and cultural diversity has been treated as an added value, a decorative element that does not transcend. We bet on something different: to build new versions of history and other views that challenge the established.
This is how Potencia Étnica Audiovisual was born, a space for meeting, training and collective construction that has given rise to initiatives such as scholarships for the Master’s Degree in Cultural and Audiovisual Management
and Production at the Jorge Tadeo Lozano University. We also launched Vanguardia Étnica Cultural, a movement that imagines possible futures from the cultural richness of our communities.
In 2023 and 2024, we took a step beyond our borders with the creation of FOCO, an audiovisual production laboratory for racial equity, in alliance with the Association of Black Audiovisual Professionals (APAN) of Brazil. This space became a transatlantic connection between Brazil and Colombia, strengthening a critical mass of filmmakers, directors, photographers and cultural managers who share a common mission: to tell the world who we are as black subjects through audiovisuals.
In FOCO’s workshops and meetings, the stories came to life with authenticity and a profound ethnic component, designed to conquer global audiences.
Our most recent bet with the ERA Fund is clear: to consolidate a catalog of films that reflect this transformation. We want Colombian cine-
ma made by indigenous and black people to occupy a central place in the national panorama over the next five years. It is not only about training or strengthening the ecosystem, but also about materializing projects that, in the midst of the box office and audience crisis in the world, manage to find wider audiences, also becoming part of distribution platforms in Colombia and abroad.
That is why we call for a new ERA to materialize the future, where diversity is normal and natural, both in front of and behind the cameras. This challenge goes beyond images: we want to see Afro-descendant and indigenous directors, screenwriters, editors, sound engineers, costume designers, producers, curators, critics occupying all spaces in the industry, not as exceptions, but as the norm.
We have not traveled this road alone. We have forged strategic alliances with key players in the audiovisual sector such as the Ministry of Culture, Proimágenes Colombia, the Bogotá Audiovisual Market-BAM, APAN, PRANA and the Jorge Tadeo Lozano University, as well as
with our main donors: the Ford Foundation and Luminate. Each collaboration has been fundamental in building an ecosystem that recognizes diversity as its greatest strength, confronting inequalities from an ethical and sustainable perspective.
“What we tried to transmit in four long
episodes
was the
discovery of another inconceivable country within Colombia, of which we were not aware.”
Live to Tell the Tale, Gabriel García Márquez
ACT III: Transcending Representation:
Quality, Awareness and Impact
In a frenetic and chaotic world, where speed and ephemerality seem to dominate everything, we believe it is possible to reclaim a space for imagination, to appropriate a new future that truly belongs to us. Today too many people are designing our future without us, while the artificial is presented as a more reliable solution than the human. Faced with this reality, it is urgent that our efforts be more precise and intentional, that our actions transcend and become solid foundations for the creation of a tomorrow that speaks from our diversity to the country and the world.
It is not just about representation; it is about building powerful narratives that broaden audiences. Stories defined by quality, consciousness, and impact, capable of transforming perceptions and realities.
Episode 1: Quality
Ethnic power and cultural vanguard are at the heart of the audiovisual quality we need to transcend representation. Talking about quality is not limited to perfecting technical aspects such as lighting, framing or sound
-although these are essential to open doors in demanding markets and platforms-, it depends on continuously building a human, technical and intellectual base that sustains an impeccable and competitive cinema. But quality goes beyond technique: it lies in the critical depth of the stories. In a country where training for filmmaking is a revolutionary act, quality is a challenging exercise in access to the best training processes and cutting-edge technology. This, in order to be able to approach these new narratives with standards that fit the audiovisual production and at the same time, allow us to understand its purpose to be able to connect with the deepest emotions and thus, open the doors of a future where our stories find their place in the world.
Episode 2: Consciousness - Heart Ethnicity as a Universal Reflection
To speak of consciousness in cinema is to speak of the origin of all creation. That consciousness is born from the first stroke on paper, from the ideas that germinate in the scripts, and extends to the images that
illuminate the screen. In Colombia, writing screenplays implies a monumental task: to represent an authentic national identity, one that does not dilute the country’s diversity or reduce its cultural richness to simplifications or stereotypes in languages and aesthetics.
Colombian cinema has historically been a reflection of its socio-political experiences, centered on stories of violence and drug trafficking. Although these stories have their place, their predominance has left other dimensions of our identity in the shadows. Narratives about Afro-Colombian and indigenous communities, in particular, have been limited to stereotypes that ignore their depth and multiplicity. There is no single way to be black, indigenous or Colombian; and cinema has the responsibility to reflect that diversity in all its complexity.
In the regional Vanguardia Étnica, a “union of constellations” was woven, where each personal trajectory was intertwined with collective stories. This exchange enriched the Colombian audiovisual landscape and raised a
fundamental question: what is the mission of production when it connects with the heart? The answers pointed to a deep self-recognition that focuses on a place of authenticity.
Corazonar (to create from the heart, respecting ancestry and history) became a guiding principle: to create from the heart, respecting ancestry and the historical fabric, to heal and strengthen the territories through art. Another key question that arose: should cinema be entertainment or pedagogy? The answer was not exclusive: cinema can entertain with depth and meaning. It can captivate while being, at the same time, a poetic resistance that represents human complexities and confronts them with honesty.
The consensus was clear: productions are not mere audiovisual products; they are beings with souls, deeply connected to the territories from which they originate. This approach makes it possible to challenge inequalities and build an authentic narrative pact, a living manifesto that invites us to imagine futures where diversity is not an aspiration, but a palpable reality. From this awareness, a fairer and more
creative horizon is drawn. A cinema that reflects the country, that reimagines, questions and renews it. Because ethnicity is not a margin or an aside: it is the universality of our humanity. And from that truth, Colombian cinema can project itself to the world not only as a voice that connects, but also as a voice that profoundly transforms.
“The
image is a mirror, where
I de-construct and reconstruct myself from the times I was miscounted.”
Jhon Narváez
Episode 3: Impact
- How do we make those who have not seen us, see us?
The impact of audiovisuals is not measured only in awards, festivals or recognitions; its true transcendence is in the audiences it manages to touch and transform. Cinema, as a universal language, has the power to build bridges between seemingly distant worlds, but to achieve this it must overcome barriers ranging
from distribution to the narratives themselves.
Today, more than ever, the challenge is twofold: to expand the spaces where our stories can be seen and, at the same time, to connect with those who have not felt represented or reflected in those stories. This implies reimagining the way audiovisual content is produced, distributed and consumed.
In a world increasingly dominated by digital platforms, cinema cannot limit itself to being a niche product. Current trends show that audiences are looking for content that combines authenticity with innovation, stories that are deeply local but resonate universally. To avoid being left behind, we must ask ourselves: how do we make our stories speak to global audiences without losing their essence? How do we ensure that our narratives reach both the big screens and digital platforms as well as the mobile devices that nowadays focus the world’s attention?
The answer lies in diversifying the paths. It is necessary to enter the platforms of massive reach, but also to create independent spa-
ces that allow us to escape the restrictions of conventional circuits. These spaces must become havens for diverse voices, laboratories for experimentation where stories can be born without the limitations of traditional markets. At the same time, we need to strengthen the connection with communities, ensuring that our works become part of a broader and more meaningful collective memory.
The impact of film, however, also requires reflection on its purpose. The cultural transformation we seek depends not only on what we tell, but how we tell it and who we reach. It is a firm commitment to creating narratives that challenge systemic inequalities and amplify voices that have been historically silenced. It is to imagine a future where film is not just a mirror, but a beacon that illuminates creative pathways for generations to come.
On this road to real impact, we must remember that it is not just about getting there, but staying there. To remain in the memory, in the emotions and in the conversations that shape the future. Because the true impact of cinema
is not measured solely by statistics - although these are important - but by its ability to transform the way we understand ourselves and the world we inhabit.
“Culture and cinema as the spiritual support of this country.”
ACT IV:
Manifesto for a New ERA of Colombian Cinema
An ERA.
A beginning. A change. A horizon. Colombian cinema is entering a new ERA, a stage that celebrates our diversity and positions it as the central axis of our narratives. This ERA is not just a moment, it is a movement; a profound change that drives audiovisual works of transcendence. An ERA of a cinema that breaks barriers, that connects local realities with global views, that amplifies historically marginalized voices about what it means to be Colombian.
Narrating the Absent, Imagining the Unexplored
In this ERA, our bet is clear: to narrate the absent country, the incomplete country, the country that has not yet been told. We want to inhabit new imaginaries, dare to imagine the impossible and open a space for the unexplored, with stories that break the mold, that challenge the limits of convention and redefine what we understand by “Colombian cinema”, “Afro cinema” or “indigenous cinema”. Stories that, from their conception, dare to question and reimagine our society. We
want a cinema that reflects us, that reinvents us.
Transformative Cinematographies
We value bold films that address the most pressing questions of our time with a clear artistic vision and a powerful narrative. It is not just about telling stories, but doing so with technical excellence and aesthetic quality, because we believe that quality is a tool to generate equity and transform the way we narrate ourselves as a society. We prioritize the voices of women and sexual diversities in film, recognizing their essential contribution both in front of and behind the cameras. This ERA seeks to reduce biases and historical gaps, promoting a constant exercise of humanization and equity that celebrates and makes visible the richness of our diversities.
Stories that transcend frontiers
The cinema of this ERA transcends borders: transnational, diasporic, transatlantic and, why not, sidereal. It is a cinema that defies barriers and connects realities, creating bridges between the local and the global. We seek
stories that dialogue with diverse audiences, both in Colombia and the rest of the world, and that resonate with authenticity and depth. In this ERA, we value projects that explore new forms of impact and distribution, challenging traditional formats. We are committed to a cinema that transcends theaters and festivals, that reaches wide audiences in a creative and authentic way, without losing its essence or identity.
An ERA. A beginning. A change. A horizon. Welcome to the future of Colombian cinema.
THE END… OR PERHAPS JUST THE BEGINNING. WE WILL SEE.
Memories of the Future Collection +15
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