A Man of Principle (Condores no Entierran Todos Los Dias)

Institute History

  • 1990 Sundance Film Festival


On April 9, 1948, Jorge Eliecer Gaitan, a popular political leader, was assassinated, and Colombia entered a murderous period, "La Violencia," tantamount an undeclared civil war in which two hundred thousand died. Many were executed by "parajos" (birds of prey), of whom the notorious and feared was "The Condor," who was, in reality, an ordinary man and a banal asthmatic.

In this chilling yet dispassionate account of political murder as everyday happenstance-cold, efficient and ruthless-death is an unannounced visit from Leon Maria Lozano, a petit bourgeois and virtually anonymous family man of strong religious convictions, restrained, understated and razor sharp, Condores No Entierron Todos Las Dias is also a portrait of a town, standing for the nation, which is gripped by homicidal mania, and where every second neighbor, whether a liberal or a conservative, is likely to be a victim.

Francisco Norden, the director of what is perhaps Colombia's most celebrated film, Camilo—The Guerrilla Priest, studied architecture in Bogota, Paris and London before entering the IDHEC, France's most prestigious film school, in Paris in 1958. He completed a number of short films before making his feature-length documentary about Camilo Torres in 1974. In the following year Norden began plans for Condores No Entierron Todos Los Dias which, owing to the conditions for financing films in Colombia, was not completed until ten years later.

Friday, January 23, 10:15 a.m.
Holiday Village Cinema II


Screening Details

As you use our Online Archives, please understand that the information presented from Festivals, Labs, and other activities is taken directly from official publications from each year. While this information is limited and doesn't necessarily represent the full list of participants (e.g. actors and crew), it is the list given to us by the main film/play/project contact at the time, based on the space restrictions of our publications. Each entry in the Online Archives is meant as a historical record of a particular film, play, or project at the time of its involvement with Sundance Institute. For this reason, we can only amend an entry if a name is misspelled, or if the entry does not correctly reflect the original publication. If you have questions or comments, please email [email protected]