La piel en primavera

Sandra takes Bus 243 through Medellín to work. She’s forced to stand. She can’t make it in time to the seats that become free. No one sees that it’s her turn. The routine commotion of the bus journey envelops Sandra. She concentrates on the stop where she has to get off, as the camera concentrates on her in every scene of the film. As it trains its full focus on Sandra, her own gaze increasingly turns towards herself and her sexuality. In her debut film, director Yennifer Uribe Alzate succeeds in creating the concise portrait of an inner transformation, quite literally embodied by actor Alba Liliana Agudelo Posada. For fifteen years, Sandra’s life has entirely revolved around her son. Now he is turning away from her. Time to start something new. She now does the rounds in a huge mall as a uniformed security guard with a truncheon on her belt, taking her job seriously. The film makes clever use of its locations, their sounds, the people that populate them and each new moment of attention that Sandra receives in the midst of this hustle and bustle: whether from colleagues who become friends or from Javier, the driver of Bus 243.