Experiencing Interruptions?

The Blue years

An age-old cat and a deteriorating urban villa are witnesses to the drama of five youths living together. They are drastically transfor­med into a close-knit family by the arrival of a flamboyant house­mate, until they part again, leaving the house and the cat deserted, waiting for new tenants to fill the quietude once more.

  • Sofía Gómez Córdova
  • Sofía Gómez Córdova
  • Luis Briones
  • Luna Marán
  • Miriam Henze
  • Paloma Domínguez
    Key Cast
  • Luis Velázquez
    Key Cast
  • Natalia Gómez Vázquez
    Key Cast
  • Juan Carlos Huguenin
    Key Cast
  • Ilse Orozco
    Key Cast
  • Project Title (Original Language):
    Los años azules
  • Project Type:
  • Genres:
  • Runtime:
    1 hour 40 minutes
  • Completion Date:
    February 1, 2017
  • Production Budget:
    1,000 USD
  • Country of Origin:
  • Country of Filming:
  • Language:
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
  • FICG
Distribution Information
  • Circo 2.12
    Country: Worldwide
    Rights: All Rights
Director Biography - Sofía Gómez Córdova

Originally from Aguascalientes, Mexico, she studied filmmaking at the University of Guadalajara where she currently teaches. For several years she has worked as an editor, writer and director within a collective of local artist and production companies that aim to raise the regional film industry in provincial Mexico. In 2016 she co-founded Bruja Azul to develop, produce and distribute film, television and educational projects. She has edited over a dozen short films and co-edited the feature documentaries The Naptime (Dir. Carolina Platt, 2014) and Portraits of a Search (Dir. Alicia Calderón, 2014). She co-wrote We are Mari Pepa (Dir. Samuel Kishi, 2013), screened at Berlinale Generation. The blue years is her first feature as a director.

Filmography as a director:
● The blue years (Feature)
● The last battle against the damn pigeons (Short, 2014)
● City of cabinets (Dance film, 2013)
● Landscape day (Short, 2010)
● History of a marriage (Short, 2006)

Add Director Biography
Director Statement

I came to live to an old house in downtown Guadalajara, when I was 21. A cheap room in a once luxurious run down house to share with other youngsters, was very attractive. Even a couple of cats were included, and I always liked cats. Back then, I couldn’t imagine that, after five years, when I left the house, I would be a very different person, and that so many convictions with which I had arrived, would fall down after facing other realities.
The house was already falling into pieces. The love that tenants tend to give is not enough and money is always missing. After decades, the house stopped being important to the owners, in a city where a historical neighborhood is no priority. But for us who recently inhabited it, the tiny ornaments, the old discolored broken tiles, a far date -1927- over the front door, are impressed in our memories as the scenery that saw us becoming adults. All late adolescents, completely distinct one to another, our sentimental education got framed between the multiple and opposed rooms, patios and roofs of Hospital Street number 721, El Santuario, downtown Guadalajara.
Since I left that house, in 2008, I began to think of this film. In an obscure stage. It didn’t take a different shape than a far longing until, a couple of years later, one of the persons who I lived with in that house, died. She was precisely the one who came, like a whirlwind, to change the apparent harmony, who united us like a family and signified for good that house and that time. My friend’s disappearance and, most likely, also the house’s, encouraged me to begin.
With this film I want to approach a currently unexplored universe in Mexican cinema: the lives of provincial middle and lower-middle class students, who represent part of the complex cultural mosaic of this country. Inhabiting a decaying historical monument in a big city far away from home, they build their lives, search for identity and find a new and dysfunctional family along the way.
I have always been moved by this thought: how many stories have those run down walls counted? By the anachronistic image of the vivacity in five youngsters beginning their lives over that stage. I think about the insignificance of my own story among all the others, after almost a century since that far 1927 that someone engraved over the entrance. I like to think that, together with the house, some aware spectator is still there to give a pinch of importance to what happened to us. Maybe a cat. That, through his eyes, the house and a few of its inhabitants, would remain.