A noisy Caracas street shows a 50's year old men Armando a dental prosthetic. He is very serious, formal man searching for his prey. Constantly he approaches to teenagers on the bus, offer them a stack on money, in exchanges of company. For him seems to be his hobby.

One day he noticed a 17th year old kid name Elder who works in a junkyard where he repair old cars. He is also a member of a gang who steal auto parts Suddenly a relationship of love and hate develops between them, as well a dramatic revelation for both and the consequences of their drastic actions.

Lorenzo Vigas directs "Desde Allá/From Afar" the first Venezuelan film to win the major price at last year Venice Film Festival. The movie explore homosexuality as a taboo in Latin American countries, but also the roughness of life in opposite places like United States where the capitalism has take over. The film shot in the neighborhood of Catia in Caracas, presents a place that can easily be confused with Bogotá, Lima, La Paz or even Quito. The director is not focusing as the city itself, but the characters in a city. "From Afar", separate the establishment of a country and concentrate in the intimacy and loneliness of the characters.

Armando and Elder both works in a place where they constantly fix and hide the traces of the damage of time, either in someone's mouth or someone's vehicle. Their life center of solving the problem of fixing part of a life, while their life itself is tortured by abuse, wealth and unsatisfaction. Elder always wear a jersey with the number 10, a sign of success of soccer players but also their demise a curse by becoming the best in the world, while in the end they become no one's hero.

In a recent interview Mr Vigas seems to be influence by the style from Robert Bresson's "Pickpocket" his shots are long and force the audience to look around and discover what the actors are thinking without telling everyone. It's an exercise of hide and seek. Less words more visual, describe what's happening. The actions goes out of focus, or the main roles separate from each other in a foreground background dance. It's visual style borrow from Europeans like Luc Besson, Michael Haneke, Igmar Bergman and even Mathieu Kassovitz.

The film is powerful and delivers an intense story with no music at all, that cause a big conflict in the audience who are expecting a cheap solution from drama. Vegas plays with the audience looking for there reactions.
The film is powerful and delivers an intense story with no music at all, that cause a big conflict in the audience who are expecting a cheap solution from drama. Vegas plays with the audience looking or there reactions.