“The Strategy of the Snail,” directed by Sergio Cabrera in 1993, is an emblematic Colombian film that combines comedy, drama and social criticism. With its witty tone and memorable characters, it captured the public imagination for its criticism of social inequality and injustice in Colombia, and became one of the nation’s most beloved cinematic productions.
In the film Cabrera, now Colombia’s ambassador to China, provided a critique of occupations, evictions and housing issues in Colombia, as a lens through which to examine the country’s broader social issues. The film tells the story of a motley crew of people squatting in a huge old house in downtown Bogota. As the owner of the property tries to evict the residents so that the building can be used for a project the city authorities are undertaking, the group bands together to invent a strategy to be able to exercise their squatters’ rights and stay in the house as long as possible.
A fable about resistance, dignity and the struggle for justice, the film’s imaginative and well-constructed characters build a story that speaks both of the difficulties of urban life and of the capacity of human beings to adapt and survive. With its message of hope and its critique of the system, the film has established itself as a classic of Colombian cinema that remains relevant more than three decades after its release.
“The Strategy of the Snail:” Cabrera’s film on dignity in the face of inequality in Colombia
The film’s plot focuses on a group of poor tenants living in Uribe House, an old mansion in the center of Bogota. Despite their different backgrounds and personalities, these residents are united by a common goal: to avoid being evicted by the owner of the property, a wealthy and arrogant man named Dr. Holguin, who wants to recover the property to sell it to the highest possible bidder.
After several failed negotiation attempts and growing pressure from authorities, who have issued an eviction order, the tenants decide to implement a bold plan. Inspired by the metaphor of the snail, which carries its house on its back, they conceive an unusual project: to dismantle the building piece by piece and move it to another location, leaving the owner with the surprise of finding the land empty on the day the authorities arrive to evict them. The group is led by veteran activist Don Jacinto and his disciple Gabriel, who transforms into Gabriela at night.
The plan, full of comedy and ingenuity, reflects both the desperation and the creativity of the community, which decides not to resign itself to injustice. The film unfolds between the drama of the oppression suffered by the low-income squatters and the humor that emerges from the absurd situations they face. Finally, with a mixture of cunning and solidarity, the tenants manage to execute their strategy, achieving a symbolic victory over the system that oppresses them.
Sergio Cabrera’s social critique: inequality, power and resistance in Colombia
“The Strategy of the Snail” is not only a story of neighborhood resistance, but also a profound critique of social inequality and the abuse of power. The film shows how those with limited resources or influence fall victim to a system that marginalizes them and to laws which favor the powerful.
Through endearing characters and everyday situations, Cabrera portrays the complex urban reality of Bogota, highlighting the coexistence of poverty and wealth in the same space. The film also reflects the tensions of a society marked by class struggle and social exclusion. The tenants of Uribe House represent a microcosm of Colombian society, where each person contributes what they have, be it cunning, knowledge or manual labor.
One of the most interesting aspects of the film is how the Uribe House community, despite its differences and internal conflicts, finds a solution to its problems through solidarity and unity. Cabrera emphasizes the importance of collective organization as a form of resistance, echoing the social struggles that were taking place in Colombia in the era in which the film was made.
The very title of the film has a powerful symbolism. It suggests that, like the creature that takes its home with it wherever it goes, the tenants manage to take with them something more important than the walls and ceilings of their building: their dignity and sense of community.
Fiction meets reality in Cabrera’s film classic
One of the most curious and analyzed sequences in the film takes place in the final scene, when the tenants manage to completely dismantle Uribe House and leave the land empty. To shoot this scene, the production team faced an unexpected logistical problem. According to Cabrera, the building where the main scenes were filmed was actually going to be demolished, which was useful in that it allowed the production team to shoot the real-life destruction of the building. However, the deadlines were so tight that the film crew had to carefully coordinate the shots with the progress of the actual demolition.
This detail brings an additional nuance to the film, as the boundary between fiction and reality is blurred. What we see on screen is not only the recreation of a symbolic relocation, but also the recording of the actual dismantling of a structure in the midst of a changing Bogota. This superimposing of reality with fiction reinforces the film’s message: in real life, as well as on screen, changes and social struggles are experienced daily.
Another interesting anecdote is that the famed Colombian vallenato singer, Carlos Vives, has a cameo in the film and plays the character of a journalist. The film director’s father, Fausto Cabrera, also makes an appearance, playing an older Spanish anarchist exiled in Colombia. Interestingly, this character has parallels with Fausto’s own life: he was a Spanish exile who arrived in Colombia after the Spanish Civil War ended in 1939. Including this personal detail in the film brings authenticity to the character and again conveys a powerful message through the blending of fact and fiction, life with art.
Impact and cultural legacy of the film in Colombia
“The Strategy of the Snail” was a resounding success both in Colombia and abroad. The film not only won over audiences for its mix of humor and social criticism, but was also recognized at international festivals. It won awards at events such as the Huelva International Film Festival in Spain and the Biarritz Festival in France.
Beyond the awards, the film left an important legacy in Colombian cinema. It was one of the first films that authentically portrayed the country’s social inequality, without falling into stereotypes or propaganda. Its optimistic tone and emphasis on creativity as a tool of resistance also marked a change in the way stories about social problems were told.
Today, “The Strategy of the Snail” is as relevant as ever, as social inequality and housing problems continue to be major challenges in many Latin American cities. The film not only invites reflection on the plight of the marginalized, but also celebrates the power of imagination and solidarity as drivers of change.