Los viajes del viento (2009)

Directed by: Ciro Guerra | 120 minutes | drama | Actors: Marciano Martinez, Yull Nuñez

A popular ‘traditional’ Colombian music genre alongside Cumbia, the Vallenato is by definition shaped by the country’s mixed history and the different backgrounds that converge in the Colombian landscapes. The guacharaca, a long hollow wooden stick played with a small stick, is a typical indigenous instrument, while the cajavallenata sound African rhythms. Finally, the accordion is a European invention that made its appearance in Colombia in the eighteenth century. There are many myths about the accordion in Colombia, including that about Francisco el Hombre, according to tradition a virtuoso on the accordion, who one evening, riding his donkey, heard the sound of another accordionist from afar. It turned out to be the devil, who challenged him to a duel that Francisco had to win in exchange for his soul. The story tells that this Francisco pulled out all the stops to play so incredibly well that Satan eventually had to acknowledge his superiority in him and disappeared into the dark with his tail between his legs.

In ‘Los viajes del viento’ a similar story is told about Carillo’s accordion, with the difference that here the accordion would also have been won from the devil, but was stuck with a curse that ensures that everyone who plays it , is forever bound to the devil’s instrument, and will be able to do nothing but wander and play all his life. The rules of the road movie are perfectly balanced, and without lapsing into clichés, the film shows how the young generation of a country is taking over from the old, that the journey itself is more important than the final destination and that two Opposing characters learn to find and appreciate each other – and themselves – along the way. You can also be sure that every road movie is in a sense about the country itself, here as the third character constantly present. The tempo is slow, but suits the scorching warmth and languid atmosphere.

The director himself emphasizes that the journey is the most important; according to him a journey ‘back to the beginning, back to the soul’. It is not without reason that the film is set in the past – the late sixties, although that year is in fact only arbitrary; it is more about an ideal image of a Colombian past, without violence, without drugs or weapons. Now that the country can finally crawl out of its misery, it is also possible to reflect on the beautiful things of the nation. How could Colombia be, even should it be, as a country at peace? Director Guerra has created an incredibly beautiful image, full of beautiful landscapes and fantastic people. Each new landscape is full of surprises and secrets that show the two traveling companions what their country has to offer. It is also about the rich storytelling culture of Colombia, traditionally propagated by the juglars, who went to the villages with their instruments to spread news and stories. The myths and songs are just as much part of these national narratives, and Ciro Guerra has made a dreamily beautiful contribution to this in his own way with ‘Los viajes del viento’.