Mago Films, Photogroup Films, Scarlett Cinema,
Global Screen and Cineplex present
BETWEEN SEA AND LAND
Carlos Del Castillo
Running Time: 98 mins
Fri, Jan 22 8:30pm Prospector Square Theatre Premiere
Sat, Jan 23 8:30am Holiday Village Cinema 1 Press & Industry
Sat, Jan 23 7pm Redstone Cinema 2 Public
Sun, Jan 24 6pm Broadway Centre Cinema 6 Public
Thu, Jan 28 9am Temple Theatre Public
Fri, Jan 29 12pm Yarrow Hotel Theatre Public
Press Contact Latin American Sales World Sales
See Through Films Cineplex USA Global Screen GmbH
Kathleen McInnis Diana Salcedo Phone+49 89 24412950
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BETWEEN SEA AND LAND is a breathtakingly tour de force from actor Manolo Cruz, skillfully directed by newcomer Carlos Del Castillo. The film, set on a small inlet adjacent to the Caribbean Sea in Colombia, tells the moving story of 28year old Alberto and his mother Rosa.
Twenty-eight-year-old Alberto lives on a swampy marsh adjacent to the Caribbean Sea, which he dreams of one day visiting. But Alberto is afflicted with a neurological disorder that confines him to his bed, and his mother, Rosa, lovingly protects and takes care of him. Alberto’s wry humor and creativity help them muster the strength to endure, and he enjoys the company of his neighbor Giselle, who showers Alberto with affection. But the life he imagines with his would-be sweetheart feels just as close-yet-out-of-reach as the sea he looks upon. As he slips into anguish, Rosa confronts her past in order to lift her son’s burden and make his dreams attainable.
Manolo Cruz (who also wrote and produced the film) gives a tremendous performance as Alberto, inhabiting a young man trapped by physical hardship but unbound by spirit. Carlos del Castillo directed this indelible first feature, which portrays the extraordinary resilience and grace of characters caught in between the margins of a beautiful place.
INTERVIEW WITH DIRECTOR AND PRODUCER CARLOS DEL CASTILLO AND SCREENWRITER, PRODUCER AND MAIN ACTOR MANOLO CRUZ
Manolo, you had the original idea for the film. Can you tell us how you came across it? Is it inspired by anything or anyone in real life?
Manolo Cruz: One day traveling to Santa Marta and Barranquilla by car, since I was not driving, I had the opportunity to appreciate the scenery, which is quite striking and shocking. This highway has a horizontal divide which separates the sea and the great swamp of Santa Marta, a small village built on stilts. When we passed by this place I was looking at the deep blue sea, I turned to the left and saw these wooden houses with zinc roofing built on logs that isolate them from the deep water. The first thought that came to my mind was "How can these people live here?” The amount of poverty caught my attention, especially on a highway that connects two major cities. When we reached a toll, the car stopped and I could see a little more of this town, I saw happy, smiling people despite having no amenities, they had no cars, no big houses, no appliances, all they needed was a simple radio to have fun. I remember I saw a man with a baby strapped to his back as he removed the scales from fish and his wife danced to Caribbean music, his other children jumping happy in stagnant water, but they looked perfectly happy. It was then when the idea for the film came to me.
Because in a country like mine, like Colombia, violence has left a trail for generations and to the world we have this bad image, which is why I felt the need for something more intimate, our other reality, the fact that there a more good people, to rescue these wonderful human beings who live here, people who are happy giving as much love as they can. That's the story I wanted to tell, to make true love standout, that a family full of love can survive any situation, can live a wonderful life, full of smiles and happy children.
On the other hand, I’ve been an actor since I was 6 years old and I always dreamed of playing a character that will challenge me and had thought from an actor’s standpoint that to portray a man with a muscular disability would require a large physical transformation. So I found the perfect place to recreate this story and this character, where the protagonist would be his true love, and he would have the unconditional family love one would need to live in a place like that.
The construction of this character took me several months, I had to lose 20 kilos (44 lbs.), I approached people with different disabilities, I lived with them, I learned about their every day lives and I trained my body to look natural, yes, it was a great challenge for me as an actor, but I got the satisfaction of fulfilling one of my dreams, even more so because I additionally wrote the screenplay and produced the film.
Carlos, can you tell us why this story was important to you for to direct?
Carlos Del Castillo: As a director and producer, I receive many scripts every year and most of them are very different kinds of stories. When I read this script for the very first time, I thought it was amazing and it was exactly what I had been looking for, for such a long time. I fell in love with the story immediately and clearly I had found a great opportunity to make the kind of film I have always loved. I thought it was a story that had to be told.
How do you describe the story of the film? The themes? The characters?
MC: BETWEEN SEA AND LAND is a love story, a story that shows that love really is, that shows what kind of sacrifices are made when one loves, and what kind of commitment you have with your loved ones. It is a story that shows the greatness in simplicity and the true essence of life. They take this adventure of life, despite the conditions and needs. Until they reach a point where adventure has to take its own course. It is the misfortune of adventure.
CdC: BETWEEN SEA AND LAND is definitely a “characters film”, it´s a beautiful love story between a mother and her son. Something different, shocking, amazing and certainly dreamlike for the audience. Love is the soul of this story. The characters are adorable and so simple and yet so complex at the same time that you can’t begin to imagine the depth of their humanity.
Carlos, how was it to work with Manolo Cruz, writer and producer of the film but also the main character? And Manolo, how was it to put together the cast that would surround you?
MC: I always wanted to work with the best actors in the country. Vicky Hernández who plays Rosa, Alberto’s (my character) mother, Jorge Cao who plays this strong and tough guy who on the inside is soft and sweet. Viviana Serna, who plays Giselle, has amazing talent. I took each of them a script and asked them to simply read it, after this happened, every one of them said "I want to be part of this project, I want to be in this movie, I want to tell this story, we have to tell it to the world " so the story had an immediate connection with the actors and their characters.
CdC: I was fortunate to work with Manolo as the main character of his own story because he created himself the beautiful character “Alberto” which made my work very gratifying! He understood his own world much better than I could and let me discover from my point of view his sensitivity and allowed me to enter his thoughts. Vicky Hernandez is what we call a Monster! She’s an amazing actress and I would be lying if I said I directed her. She deciphered and understood her character in a brilliant way, so it was a sin to tell her what to do and how to do it. Believe me: I tried and thank God, I couldn’t.
Manolo, why did you want to play the lead role?
MC: The hardest part about playing “Alberto” was to have to carry the story along side his mom, without being able to move or talk. That is why it was so important to achieve a portrayal of his intentions, his disability, his isolation from the world. A role like this has to be well managed in order to have a successful interaction with the audience, which is why I decided to play it myself. To transmit certain emotions and feelings without it simply being an actor pretending to be sick, the character had to be very well managed, in order to make sure people with disabilities and their families knew we were doing this with respect; this responsibility could have not been passed on to anyone else.
Are there cinema influences you have incorporated into this film? If so, from who?
CdC: I have many directors I follow in some ways… Giussepe Tornatore is one of my favorites. Though I couldn’t say he has a direct influence in this particular story… at least not consciously. For sure, there may be many other people who have influenced me in a lot of ways but I couldn’t name anyone responsibly.
MC: Yes, of course there are a lot of cinematic influences. There are a lot of authors that give movies a special touch that when you watch one of their movies without knowing it’s theirs you automatically make the connection with the author.
For example, Alejandro Amenabar’s “The Sea Inside” (“Mar Adentro”) contributed greatly to BETWEEN SEA AND LAND, because it successfully isolates the audience from the rest of the world and immerses them into the movie’s reality, all through a screen. This is what I wish to do with film, to engage the audience in an hour and a half of a distant reality, taking them through a journey of sensations that leaves a positive impact on their lives.
Technically, the filming looks very challenging: on water, in close spaces, with little room to move about. What camera did you shoot on? What lenses did you use? How did you design your look, your palate?
MC: Yes, it was pretty difficult due to the conditions in which we filmed the movie.
The house in which the movie was filmed was made exclusively for the filming of the movie, since there were going to be 30 people working in it simultaneously, every day so we wouldn’t be able to use a house that was already built. The art in the set design was very specific, in order for it to feel as though time and lives had been spent in that house.
We only used one light, which is why the DP’s job was very important in this movie. He proposed we find a light bulb that acts as the sun and have us move along with it, since the house had no electricity and we had to use what we could. Besides finding a power source would be too difficult, since we were so close to the highway. The decision the DOP made was to use HMI light and continue to use it as our “sun” to give the film life and we finished the whole movie just using that light. This allowed the reflection of the reality that people with these conditions live in. We had it clear from the beginning that we wanted to tell the story from the uncertainty and burden that “Alberto and Rosa” lived everyday... and of course Alberto’s inability to see the world the same way we do… in a very small picture. That’s why the palate and the look of the film are quite warm and certainly oppressive.
CdC: Let me add some more information in regards to the lenses and cameras, we used a RED Scarlett with an MX sensor, and an ARRI ultra prime lens kit: 20mm, 24mm, 32mm, 50mm, 85mm and 200mm. Also to make some support shots we used a Canon EOS 5D Mark III and a drone with a GO PRO Hero 4 camera.
With the use of short and medium lenses we wanted to keep the look as realistic as possible to the human eye, in order for the audience to establish a relationship with that reality and feel as though they are in the film. This is what we intended from the beginning, that's why there are a lot of slow pans, where the action, movement and intensity of the character are based in truthful acting.
Can you speak about your collaboration with your colleagues – with your Actors? Your DOP? Your Composer?
CdC: We had weird preproduction work as we had a tiny budget to tell the story, which made everything even more difficult for us. During the filming process we had to shoot in 100°F heat and a cloud of mosquitos buzzing around us... which can be a disaster formula to make or break friendships! However, the team was amazing and they were all in love with the story… so we didn’t end up killing each other. Robespierre Rodriguez was my DOP and he is and was my friend, my right hand man and an amazing professional and colleague!!! Choosing the composer was the decision of the main producer and he got the Philharmonic Orchestra of Medellin to create the film music.
MC: The collaboration with the colleagues was impressive. First of all, the collaboration and communication with Carlos, the director who was in charge of the realization of the film was great. With the director of photography, from the very beginning we established the direction, we focused on the lighting, the optics, and the style of the camera work. I think it was very interesting how everyone bet on the project, and worked to make it happen and to follow my vision and support it, even when we didn’t agree they all respected the film and finished it with me.
It was very interesting to find the composer, it was almost as if I had found exactly what I expected. He showed me how he felt about the demo, in regards to the movie. The music he saw and the result was exactly what I was looking for; Everything was carefully chosen to accomplish the goal of conveying feelings in all senses and to never lose my point of view as an author.
In a perfect world, if you could have whatever you wanted, how do you hope audiences respond to the film?
CdC: I’m dying to see people enjoy the film… immersed in that amazing and different world for the time it lasts. And I want the people to understand the incomprehensible, love in its most pure essence. I want people receive a very deep message.
MC: I would love for people to watch the movie and reflect on what love is, and to have the film touch their lives. It would be ideal to contribute a sense of conscience to the world as to what really is important in our lives; giving and receiving love is something that to me is vital. One day, at the end of a screening of the film a woman came up to me crying, she hugged me and said: “You have no idea what it meant to watch this movie. I have a son with a disability and all my life I’ve given him unconditional love. Watching BETWEEN SEA AND LAND was like God telling me he was here and he was watching all I do. It was like receiving acknowledgement for all I have given.” The woman’s words are my ‘perfect world’.
Actor, Writer & Producer – Manolo Cruz
Manolo Cruz is from Bogotá, Colombia, and has been one of the most well-known actors in his country since the age of six. He began studying directing and screenwriting in 2010, looking to complement his acting talents by telling his own stories. After creating five short films, he decided it was time to write and produce his first feature, BETWEEN SEA AND LAND.
Actress – Vicky Hernandéz (Rosa)
Vicky Hernandéz is one of Colombia’s most acclaimed actresses. She appeared in innumerable theatre productions, TV shows, series, Colombian and international theatrical films. She is most known for her performances in the series “El Coleccionista”, “Azúcar”, “Romeo y Buseta” and “La Casa del las dos Palmas”.
Her theatrical movies include “La Toma de la Embajada”, “The Snail’s Strategy” and “Proof of Life” (with Meg Ryan and Russel Crowe). She was honored with the Best Actress Award at the Havana Film Festival in 1991 for her performance in “Confessions of Laura” and she was awarded the Best Actress Awards at the Bogota Film Festival three times, for “Técnicas de duelo: Una cuestion de honor”, “La Mansion de Araucaima” and “Nelly” (short).
Actress – Viviana Serna (Giselle)
Viviana Serna, born in Colombia, started her acting career at the age of 13 as a host for Colombian local TV. When she was 17 years old, she began training with Alejandra Borrero, Juan Pablo Félix and Ana María Sánchez. She quickly began working in local theater and television and landed her first bigger roles in the TV series “Confidencial” and “La Bruja”. She also appeared in “La Viuda Negra”, “La Ronca de Oro”, “Quién Eres Tú” and in the Mexican TV series “Señora Acero” and “El Señor de los Cielos 3”. The role of Giselle in BETWEEN SEA AND LAND is her first performance in cinema.
Actor – Jorge Cao (Laureano)
Jorge Cao is Cuban actor, who lives in Colombia since 1994. He studied drama in Havana in 1964 and is well known for his appearance in the telenovela “El Ultimo Matrimonio Feliz”. He also acted in the films “Placido”, “Closed Door” and “Adorables Mentiras de Gerardo Chijona” and many more. He was awarded for his role in “La Venganza” and “El Ultimo Matrimonio Feliz” as the best villain at the INTE Awards.
Director & Producer – Carlos Del Castillo
Carlos del Castillo is a New York Film Academy director and producer who specializes in symbolism, audiovisual effects, screenwriting, and cinematography. He graduated in dramatic arts and has directed 25 plays on the South American stage. Del Castillo has visited 60 places in 20 years for different audiovisual projects.
Director of Photography & Producer – Robespierre Rodriguez
Robespierre was born on November 16, 1974, he was a publicist at Jorge Tadeo Lozano University. He has served as director of photography and producer and combined his professional roles to become a professor of Film and Television. He has traveled throughout Colombia making documentaries on different topics, such as the sexual exploitation and abuse of children through virtual media. In 2010 he created the production company Scarlett Cinema, which has participated in more than 10 Colombian feature films. His participation as a director of photography on the film BETWEEN SEA AND LAND has a particular visual identity that has been consolidated over the years; it’s the hallmark of those who fight against the ironies of the limits of vision, it is an invitation to observe and experience the frame as a piece of art.
Composer – David Murillo R.
David Murillo R. is a Colombian composer, focused in composing for visual media. He has created music for numerous short films, for the international documentaries “Mountain Bike Out of the Box”, “Beneath Paradise”, “Nefertiti’s Daughters” and for the animation feature film “The Climb”.
CARLOS DEL CASTILLO
CARLOS DEL CASTILLO
Idea Original y Guion
Asesoría en Guion y Diálogos
Director de Fotografía
Diseñador de Producción
ARLEY GARZON GOMEZ
Diseño de Maquillaje
Dirección de Producción
Supervisión de Sonido
GERMAN DANIEL LEON
DAVID MURILLO R.
GERMAN A. DUARTE
Asistencia de Edición
FELIPE DONCEL HUERTAS
Creativa y Conceptual
MAGO FILMS Presenta
En coproducción con
SCARLETT CINEMA / PHOTOGROUP FILMS
LA CIENAGA Entre el Mar y la Tierra
CARLOS DEL CASTILLO
Productores Ejecutivos Asociados
SOLES MAGNOLIA URREGO MORENO
Asesoría en Guion
MANUEL FELIPE BERMEO
Asistente de Dirección
Alberto MANOLO CRUZ
Rosa VICKY HERNANDEZ
Giselle VIVIANA SERNA
Laureano JORGE CAO
María MILE VERGARA
Doctor JAVIER SAENZ
Manuel RAFAEL RUBIO
Alberto Niño STIVEN D. MAZO BERMUDEZ
Cristóbal Niño DANIEL DAVID RACINES
Giselle Niña LUNA MARÍA TORRES
Tendera DAMARIS LOZANO
Técnico JAIME BARBOZA
Portero Hospital ALVARO BELTRAN
Secretaria Hospital ANDREA ECHEVERRY
Eléctrico Batería CARLOS MARIO CAMARGO
Doctor Fundación JOSE DE LA CRUZ
Doble de Rosa YARLIS ROMERO
Chalupero 1 BILLI BLOC
Chalupero 2 JUAQUIN MORENO
Vecina2 ANA MILENA
Niños GABRIELA HERRERA CORBACHO
NEIBER D. MAZO BERMUDEZ
Profesora JOHANA NUÑES
Jefe Giselle IRENARCO GRANADOS
Voces Niños MARIANA LEÓN BERNAL
GERMAN DANIEL LEÓN BERNAL
JHON ANDRES CORRAL
Casting MANOLO CRUZ
Cámara CARLOS TORRES
Foquista JAVIER RICARDO GOMEZ
Gaffer JUAN CARLOS OSPINA
Data IVAN RENE QUINTERO
Asistente de Edición FELIPE DONCEL HUERTAS
1er. Asistente de Producción MELISA SAUMET
2do. Asistente de Producción ANA MATILDE GIRALDO R.
Productora Local INES MORA
Productora de Campo DIANA OSPINA GIRALDO
Foto fija JUAN CAMILO CARDONA
Eléctrico YAMAYAY MENDIETA
Crew Eléctrico KGB
Supervisión de Sonido GERMAN DANIEL LEON
Sonido Directo KIMBERLY MEJIA
GERMAN DANIEL LEON
Microfonista DANIEL FELIPE CASAS
Edición de diálogos JAIRO HERNAN CUBILLOS
Artista Foley JULIAN MATEO DIAZ
Diseño de Sonido GERMAN DANIEL LEON
JULIAN MATEO RUIZ
JAIRO HERNAN CUBILLOS
Doblaje México E-SOUND
FERNANDO CABRERA FREYRE
ALEJANDRO VERGARA RODRIGUEZ
Doblaje Cali AUDIO MEDIOS MUSIC
EDUARDO SERRANO ROJAS
SEBASTIAN SATIZABAL VICTORIA
MARÍA CAROLINA MOSQUERA HOYOS
Mezcla de Sonido GERMAN DANIEL LEON
Diseñador de Producción ARLEY GARZON GOMEZ
Ambientación y Master Pro ALEJANDRA MEJIA CUEVAS
Asistente de Arte SILVANA GONZALEZ AMOR
Asistente de Arte Preproducción EDNA J. YANDAR GONZALEZ
Escenógrafo BILLI BLOC
Diseño de Vestuario ARLEY GARZON GOMEZ
Vestuario SILVANA GONZALEZ AMOR
Modista ESPERANZA PULIDO
Diseño de Maquillaje y Efectos Especiales ALEXANDRA SARMIENTO
Asistente de Maquillaje DAVID SANCHEZ
Asistente de Maquillaje Preproducción EFRAIN ZARATE
Artistas (Dibujos Alberto) NATALIA JARAMILLO
Cámara Aérea DRONE ART
Asistentes de Dirección en Preproducción ANA MARÍA BORDA
Casa Digital y Posproducción Video SCARLETT CINEMA
Posproducción Audio GDL SOUND DESIGN
Corrección de Color CINECOLOR COLOMBIA
Música Original Compuesta y Dirigida DAVID MURILLO R.
Orquestador y Copista JUAN CAMILO ARBOLEDA
Música Interpretada por ORQUESTA SINFONICA DE EAFIT
LUIS JAVIER HERNANDEZ “KI”-Acordeón
Directora Ejecutiva HILDA MARÍA OLAYA
Directora de Orquesta CECILIA ESPINOSA ARANGO
Producción y Posproducción Musical BEAT MUSIC
JULIO CESAR SIERRA
Ingenieros Grabación FELIPE VILLADA
Ingeniero Mezcla GIOVANI BEDOYA
Making of Orquesta SANTIAGO VALLEJO
(Por orden de aparición)
Entrada a la La Distonía
El Espejo Sueño en el Agua
No Vuelvas Amor sin Futuro
Sueño Atarraya Alberto Pintando
Sueño de Amor Quiero ir al Mar
Recolectando para el Viaje Construyendo el Invento
Despedida de la Casa Aprobación Tratamiento
La Enamorada El Viaje
La Ciénaga Entre el Mar y la Tierra Drama en la Cienaga
Accesoria Jurídica EVELIA CAMACHO
Contabilidad SANDRA EDITH VARGAS
Asistente financiera ADRIANA FERNANDEZ
Traducción y Subtítulos NANA MEDINA
Traducciones ANGELICA VIRGUEZ
Agencia de Diseño y Estrategia (INDEED)
Diseñadores ANGELA VEGA
Prensa CAROLINA PLATA
Hospedaje HOTEL BOUTIQUE DON PEPE
JUAN IGNACIO VIVES
HOTEL LOS CACIQUES
Catering EDUARDO MARIN
(RESTAURANTE AGUAS VIVAS)
(MARISCOS BAHIA AZUL)
Transporte Terrestre TRANSPORTES SAN ANTONIO
ROBERSPIERRE RODRIGUEZ RIBON
Transporte Acuático BILLI BLOC
SOLES MAGNOLIA URREGO MORENO
SINFONICA DE EAFIT
JOSE GUILLERMO BEDOLLA S.
MARÍA JOSE VELEZ
AIMOLA Tienda de Arte
Pelos y Pelucas
MARÍA ELSA GUTIERREZ
Centro Dermatológico GIOVANI BOJANINI
ROBERSPIERRE RODRIGUEZ RIBON
ADRIANA SALAMANCA Especialista en Nutrición
STEVEN REYES Medico General
DIANA RAMIREZ TELLEZ
ANA MARIA FANDIÑO CORTES
PAULA NATALIA FANDIÑO CORTES
HOTEL LOS CACIQUES
Policlínica de la Ciénaga
ALEJANDRO ROSSI CARREÑO
Transportes San Antonio
ALCALDIA DE TASAJERA
ESTACION DE POLICIA DE PUEBLO VIEJO
ANGELA MARÍA VELASQUEZ GOMEZ
ELIZABETH VELASQUEZ GONZALEZ
MARCELA HENAO VELASQUEZ
Restaurante DONDE NICO
LUIS CARLOS SERNA
OFELIA VELASQUEZ GOMEZ
VIVIANA ARROYAVE VELASQUEZ
ANA MARÍA VELASQUEZ AGUDELO
FAMILIA LACOUTURE ARENAS
Hielos La Roca
Body Flex GYM SPA
MIGUEL A. CASTRO MORALES
Hotel campestre La Potra - Villavicencio
SANDRA XIMENA MARTINES ROZO
Piscinas Olímpicas José Eustacio rivera
AGRADECEMOS ESPECIALMENTE A TODAS LAS PERSONAS DE TASAJERA, PUEBLO VIEJO Y SANTAMARTA, DONDE SE LLEVO A CABO EL RODAJE DE ESTA PELICULA POR TODA LA COLABORACION PRESTADA Y EL AMOR QUE NOS BRINDARON.
Logos de los coproductores
SCARLETT CINEMA, MAGO FILMS, PHOTOGROUP.
Logos de los Productores Asociados
KGB, SODIOM PRODUCCIONES, SPIDER FILMS.
Con el Apoyo de
GIOVANI BOJANINI, CINECOLOR COLOMBIA, BEAT MUSIC, GDL SOUND DESING, SINFONICA EAFIT.
Logos de las empresas que apoyaron
MAC, HOTEL DON PEPE, AIMOLA, FUNDACION ROSSI, POLICLINICA DE LA CIENAGA, TRANSPORTES SAN ANTONIO, INDEED, LOGO DAVID MURILLO, DRONE ART, LOGO ALEXANDRA MAQUILLAJE, LOGO AZUL DE ARLEY, 360 EB, AUDIOMEDIOS, E-SOUND, ZONA FX.
Esta película se pudo realizar gracias a la bendición de Dios, quien hizo posible que las personas que participaron en este proyecto se unieran a él por amor y con ese mismo amor plasmaran sus dones en esta hermosa historia, es por esta razón que todos los honores y la gloria es para Cristo Jesús quien me mantuvo firme y fuerte.