In the middle of the Andean mountains, between the snow-capped mountains of the Sierra and the cliffs that border the Amazon, there is a hidden village called Yahuarpamba. The town is surrounded by a perpetual fog regardless of the season.

Don Medardo y sus Players, a cumbia band that had its time of glory, are on tour. After their concert in San Fernando, the Mayor refers them to a shortcut into the neighbor town of Chambote, where Don Abel, the founding singer, plans to give his last performance before retiring. As they travel, they get lost in the thick fog of the area and have suffered a mishap.

Dr. Liberman, the town doctor of Yahuarpamba, helps them and takes them to his town. He guides them through the mist as if he could see right through it. They are welcome with a sinister hubbub by all the inhabitants at the entrance of Yahuarpamba. There are only elders in that town, much older than what they appear to be.

Guests are fed pork while villagers argue over the quality of the meat. The strange thing for the members of the band is when the villagers fight over who will host which guest. To such a point, that it puzzles Efrain and Luis, the shy soundman of the band. While the other members are distracted by the courtesy of the villagers.

Luis and Efrain discover a video on a cell phone found, recorded by an Asian tourist some time ago. Spying around at night, Luis and Efrain discover the body of the Asian tourist of the video, which gives them a clue as to the reason the inhabitants appear to be younger than they really are. They alert the rest of the band but these do not believe them, but little by little their members disappear. The survivors have to escape, but these old people are not as crippled as they appear.

  • Pedro Alvarez
  • Daniela Ribadeneira
  • Project Title (Original Language):
  • Project Type:
  • Genres:
    Horror Comedy
  • Number of Pages:
  • Country of Origin:
  • Language:
  • First-time Screenwriter:
  • Student Project:
  • BOLIVIA LAB 2019
    Cochabamba, Bolivia
    July 1, 2019
  • LAB GUIÓN 2018
    Medellín, Colombia
    October 15, 2018
  • Beneficiario de la convocatoria 2017 del Instituto de Cine y Creación Audiovisual – ICCA
    Quito, Ecuador
Writer Biography - JUAN DIEGO AGUILAR

Juan Diego Aguilar holds a degree in Advertising from Universidad Tecnológica Equinoccial and a degree in Audiovisual Arts from Instituto Superior Tecnológico INCINE. He made two shorts and a medium-length film as scriptwriter and director during his studies. He was a beneficiary of the 2012 CnCine open call, in the Script-Writing category, with his project “Manual para Alcohólicos”.
Co-writer of the web series “Kikirimiau” (first season) in CNT Play and co-writer in the project “Robin Hood” (provisional name) of the Colombian actor Jorge Enrique Abello, which is a fiction series planned for the Netflix platform.
Co-writer in the special: “Enchufe sin Visa” for Vimeo. Screenwriter of the promotionals and co-writer of the Enchufetv bumpers for Comedy Central Latin America.
He has been script on three television pilots for Ecuavisa and a writer for the pilot “Yo quiero ser DT” for Gamavisión.
He entered to pre-selection for the Residence du Cannes 2012 with the project “Manual para Alcohólicos”. He wrote the screenplay “Chasqui y rebelión del Norte”, an animated film that is in production stage with Wawapaka Films. He has written several sketches and advertising campaigns for the brands that sponsor the YouTube channel, Enchufetv.
He was jury in Bolivian Lab 2017, in the script development category.
Beneficiary of the 2017 ICCA (Instituto de Cine y Creación Audiovisual) open call in Ecuador with the project “Niebla”.
With the project “Niebla”, he also won the Script Doctor 2018 ICCA open call, was selected to participate in the 6th Colombia Screenplay Laboratory 2018, Corporación Cinefilia, Colombia and in Bolivia Lab 2019, Bolivia.

Add Writer Biography
Writer Statement

Screenwriter’s Motivation
A friend’s grandfather told us about a strange town which name he never learned and after many years, its memories still caused him nightmares. In the 50s, he and a partner traveled through the peaceful Ecuadorian Andes. They had to stop to rest in a place in the middle of the fog where the villagers treated them like kings, with an exaggerated kindness that caused strangeness to the arrivals. They were served snacks before the hungry gaze of some locals. They were told that the food was pork and grandpa confessed that it tasted very good. He felt guilty when he saw that the villagers, humble people of the countryside, gave their food to the visitors; then he would feel guilty for a very different reason. While they were sleeping, they heard someone sawing somewhere within the house where they stayed. Then, sneakingly, they managed to spy on the place where the sound came from; they saw the body of a man, hanging, while one of the hostesses sawed a limb to extract its flesh. Grandfather and his friend fled from that town. This story, whether true or not, stayed in our heads.
The Ecuadorian films have few spectators with some exceptions. They tend to be intimate and contemplative films, very close to the author. They lack distance and investigation. Usually, they fall in the second act. With this script we try to focus on the viewer with a defined genre that is attractive, that starts from an investigation, that contains tension and does not have false pretensions. With this script we want to entertain, and we want people to return to theaters to see Ecuadorian films; we want the film not be seen because of a forced patronizing to local productions, but for being good. Ecuadorian cinema is an emerging cinema and if it does not have a movie that holds at the box office and is successful in the domestic market, it will sink easily.
This project was benefited in the 2018 open call of the Institute of Audiovisual Creation of Ecuador, with good criticism coming from the judges. It has been in local laboratories and in the Cinefilia laboratory in Colombia. We are motivated thanks to the consultancies and laboratories because we know from the consultants that this project is original, and that it has potential both in festivals and in the commercial cinema. We have an exciting story; in the style of Alex De La Iglesia, without losing criticism and not falling for easy entertainment. We have a speech that is behind an intense plot, not ahead.
We also look for a transgression that starts from a common and honest neurosis so that it is socially relevant. It may have the form of an entertainment movie but it has a background like They Live by John Carpenter. We feel like cows in a pen that this neurosis produces, that which causes us fear. Cows that graze until eaten, either in a bail-in as happened in 2000 in Ecuador, when several retirees chose to commit suicide when they learned that all their life savings had been lost in other people's pockets. We are afraid of populist promises or simple scams among neighbors. Afraid to be Venezuela. We are afraid of our own nature that has overcome human solidarity. We are afraid of the world and where it is going.
In Latin America and the country, we know that the traumas of previous generations eat away at those present and that the corpses buried in the yard will remain in our children's yard. The crises are repeated. No matter the government, no matter the ideology, we fall into our own voracious nature. The left and the right have failed and those who govern only want to endure and do so thanks to populism, which tells you what you want to hear. We left a populist government that plundered for ten years to enter a government that conceals the thefts of the previous one. In Latin America there are no resolutions, impunity is cultural and latent no matter how much we fight, no matter how many likes we give in social networks, impunity is like the elderly ones of this film, it refuses to die and the more time passes, the stronger it becomes. The cinema is a metaphor of life and with this metaphor we want to demonstrate this sensation, that of being condemned to be devoured.