Documentary

Jala: A journey through the senses of water gathers the over abundant diversity of India in a lyrical voyage along the river, where the most dissonant extremes, present in the colorful costumes, the smells and flavors, the majesty of the monuments (which gives a stark contrast to the apparent misery of those who roam them). In India all this exuberance is integrated into cycles (seasonal, astronomical, human), which define a way to perceive and understand time in which the constituents of the universe are placed in a hierarchy and transmuted without ever finding a single and final outcome; instead they embark on new cycles at other levels of existence. This is evident especially in the many rituals performed along the river: fire rituals to purify those who have died; rituals to initiate those who start a new phase in their lives; rituals to feed the ancestors who dwell in the afterlife. Just as the rituals are part of this cyclical conception of time in which the souls are “recycled” continuously, the practices of rural livelihood inIndia also follow a circular pattern, which prevents, for example, the appearance of a concept of waste or garbage in the Western sense.

Wrote and Directed by Roberto Restrepo
Co Director : Talía Carolina Osorio
Cinematography:
Helkin René Díaz
Felipe Aguilar
Research
Ana Milena Piñeros
Roberto Restrepo
2015

Through the lives of three Colombian journalists, UNCENSORED recounts the peril journalists endured while covering Colombia’s narcoterrorism violence in the 1980s during the reign of Pablo Escobar’s Medellin cartel, the 1990s during the rise of corruption in the military and 2000s during a behind-closed-doors oppressive administration.
Despite differences in time period and situation, there are many reporters today in war-torn and conflict territories who suffer physically and psychologically in similar ways as the Colombian journalists of this era. The film will provide critical insights into the dangers journalists face while reporting from today’s conflict-torn territories such as Mexico, Central America and the Middle East.

Director: Stephanie Martinez
Cinematography: Helkin René Díaz
2014

The contestants are murderers, guerrillas and thieves. The winner will be crowned Queen, but she won’t be invited on a press tour as a role model for young girls. Instead, she will be escorted back to her cell. LA CORONA (The Crown) is a character-driven documentary that follows four inmates competing for the crown in the annual beauty pageant of the Bogota Women’s Prison.
Las concursantes son asesinas, guerrilleras y ladronas. La ganadora será coronada como Reina, pero no será invitada a ruedas de prensa, ella será escoltada de nuevo hasta su celda. LA CORONA es un documental intimista que sigue a cuatro candidatas que compiten por la corona en el reinado que se celebra cada año en la cárcel de mujeres de Bogotá- Colombia.

Sundance Premiere 2008
Oscar’s Academy Award Nominee 2008
HBO Premiere in September 2008
Direction: Amanda Micheli, Isabel Vega
Cinematography: Amanda Micheli
Additional Camera: Helkin René Díaz
More info runawayfilms.com
2008

Example Sequence “The Crown”

Sundance Premiere 2008
Oscar’s Academy Award Nominee 2008
HBO Premiere in September 2008
Direction: Amanda Micheli, Isabel Vega
Cinematography: Amanda Micheli
Additional Camera: Helkin René Díaz
More info runawayfilms.com
2008

Short film about Bogotá.
Shot on RED.
Cinematography: Helkin René Díaz, Felipe Aguilar.
2009

Jala: A journey through the senses of water gathers the over abundant diversity of India in a lyrical voyage along the river, where the most dissonant extremes, present in the colorful costumes, the smells and flavors, the majesty of the monuments (which gives a stark contrast to the apparent misery of those who roam them). In India all this exuberance is integrated into cycles (seasonal, astronomical, human), which define a way to perceive and understand time in which the constituents of the universe are placed in a hierarchy and transmuted without ever finding a single and final outcome; instead they embark on new cycles at other levels of existence. This is evident especially in the many rituals performed along the river: fire rituals to purify those who have died; rituals to initiate those who start a new phase in their lives; rituals to feed the ancestors who dwell in the afterlife. Just as the rituals are part of this cyclical conception of time in which the souls are “recycled” continuously, the practices of rural livelihood inIndia also follow a circular pattern, which prevents, for example, the appearance of a concept of waste or garbage in the Western sense.

Wrote and Directed by Roberto Restrepo
Co Director : Talía Carolina Osorio
Cinematography:
Helkin René Díaz
Felipe Aguilar
Research
Ana Milena Piñeros
Roberto Restrepo
2015

In Colombia, beauty pageants are a national obsession. That these young women want to compete in one is nothing out of the ordinary. What is unique however, is who the contestants are.
Every year, the inmates at Buen Pastor women’s prison in Bogotá get the chance to hold a beauty contest and compete for the one thing incarceration hasn’t denied them: the chance to be queen.
Direction: Nadja Drost
Cinematography, photographies and edition: Helkin René Díaz.
Global Post Canada
October 2010