NICOLAS ORDÓÑEZ CARRILLO. BOGOTA. 1977. Colombian. Literature graduate of the University of Los Andes (Colombia) with a Masters in Theory of Comparative Literature at the Autonomous University of Barcelona. He has worked in press with El Espectador, Soho, Internazionale magazine and The Malpensante Magazine, among others. He was jury for Screenplay in the 32 and 34 Film Festivals of Havana. Directed the feature documentary film Trip Voyeur (Official Competition No-Budget Film Festival, 2010). He was DOP for the film Giraffes, premiered at the IFFR (International Film Festival Rotterdam). His second feature as DOP, Venice, was an Official Selection at the Toronto International Film Festival (TIFF, 2014), and won the Cinematography award at the Gramado International Film Festival 2015 in Brazil, among other international awards. Sharing Stella is his third feature film as DOP, winner of the Posproduction Coral at the Havana Film Festival, 2015. He exhibited his first photographic series Glamour in the rubble (2011), Gaia House, Havana, later published by The Malpensante Magazine. His second series, extras, was inaugurated at the 33 Festival of Cinema of Havana; in March 2012 it was exhibited at the Museum of Modern Art in Cartagena, at the 52 International Film Festival of Cartagena; and also in the Cinemateca Distrital of Bogota . Since 2008-2012 was Creative Director, Photographer and Cinematographer in the Cultural Department of the Film School of San Antonio de los Baños, Cuba, where he was a pupil of Gabriel García Márquez in the famous workshop "How to tell a Story". He is currently based in Bogotá, Colombia, where he is engaged in the production of Film, Documentaries and Advertising with the production house Galaxia 311.
Nicolás Ordóñez Carrillo is an unassuming Colombian photographer who has been studying and now working with the International School of Film and TV (EICTV) in San Antonio de los Baños, Cuba. To celebrate the school’s 25th anniversary he has prepared this series, eXtras, aimed at throwing a spotlight on the institution’s graduates, teachers, and, of course, the countless possible universes--imaginary, real, rapturous--that will continue to be forged in the vicinity of the San Tranquilino farm.
This is simply brilliant on so many levels and demonstrates a creativity, attention to detail and imagination that goes a long way to explain why the school has been so successful.
“..the protagonists of these pictures normally work behind the cameras, but this time agreed to being looked at, observed, haloed by Nicolás’s lens, and gladly took on the role of postmodern demiurges on the alert for the recreation of powerful myths in film, television, advertising, audiovisual communication..” Joel del Rio