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La Zona Intertidal was made at a time when terrorist acts from both state and paramilitary were the order of the day in El Salvador and shaped the global perception of the country. Instead of the agitprop montages that characterized the political cinema of Latin America in the 1960s and ‘70s, this film is dominated by a feeling of deceptive calm: a beach, lapping waves, a man reading in a hammock, two men in conversation... The violence that breaks into these scenes is hinted at more than it is depicted. Only a closing text panel dedicating the film to the murdered teachers of El Salvador establishes a clear political context. LA ZONA INTERTIDAL was shown at the Short Film Festival Oberhausen in 1982 and awarded one of the main prizes by the International Jury. The festival program listed a “Grupo los Vagos” as the author of the film, a four-member collective that had begun working together in 1969 as the theater collective Taller de Los Vagos and later switched to the medium of film.
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ES
In 1992, Mercer is desperately trying to rebuild his life and his relationship with his son amidst the turbulent Los Angeles uprising following the Rodney King verdict. Across town, another father and son put their own strained relationship to the test as they plot a dangerous heist to steal catalytic converters, which contain valuable platinum from the factory where Mercer works. As tensions rise and chaos erupts, both families reach their boiling points when their worlds collide.
