Pinky is on the run. At night the empty streets smell of the apocalypse and the city seems to be on fire. Narcotics swirl through the veins and the air. Having freed himself from the clutches of a sect led by a certain “padre” and determined to take his fate into his own hands, he is now holed up in an illegal T-shirt factory, surrounded by paints, slogans and heat presses. Pinky is looking for the light at the end of the tunnel, but ghosts are breathing down his neck. He is running for his life, and Colombia is on fire. But Colombia is alive. The deeper Los Conductos dives into the nightmarish and the hallucinatory, the tougher, more political and hungrier for reality the film becomes. Restrepo explores poetry through visual metaphors that unfold, double up and repeat; a machine moving inward towards the centre in a circularity that traps and seemingly leaves no way out. A film of hallucinatory realism that not only goes to the deepest and darkest level, but that tries to transform it.