At seven in the morning in Barcelona and early afternoon in Beijing, a call connects to the other side of the world. Sergio Cabrera, the Colombian filmmaker who came of age amid turbulent times, reflects on a life steeped in the shadows of a dark era. During the Cultural Revolution in China, he found himself drawn toward a guerrilla past, a path laid out by family influence and a sense that art and politics could be intertwined to reshape a country.
Guided by his father, an artist of Canarian descent, and his Colombian mother, alongside his sister Marianela, Cabrera was introduced to ideas that some believed could help young people integrate into Colombia’s then-activist guerrilla movements. Years later, those early currents surfaced in his life as a participant in those struggles, before choosing to leave that world behind at twenty-three. The arc of his career shifted from conflict to film, from clandestine action to public service, and eventually to a new role in diplomacy.
In the long arc of peace, Cabrera served as a deputy in Colombia, advancing a career that blended cinema with public life. The year 2016 brought a retrospective in Barcelona, a moment that coincided with unwelcome tidings about his father’s death as the peace process faced renewed challenges. The family’s story would later intersect with broader narratives about national reconciliation and the future of Colombia.
Juan Gabriel Vásquez, a leading writer, captured this period in Look Back, a work that is widely regarded as a moving nonfiction portrait of late-twentieth-century life in Colombia. The centerpiece of the narrative is Cabrera, now at a distance from the past but still connected to it as he speaks with his sister from Beijing. The interview unfolds as Cabrera prepares to present credentials to China’s leadership, marking a historic moment in which Colombia appoints a new ambassador to Beijing.
From China to China, Cabrera comes to the role of ambassador with a background in cinema that left a lasting imprint on his outlook as an artist and director. Films such as Snail’s Strategy, Ilona, and Citizen Escobar helped establish him as a master of Spanish-language cinema, and they frame his current work as a diplomat who still sees art as a path to dialogue and change.
With this history, Cabrera speaks as Colombia’s new envoy in China, reflecting on the path that led him here. When asked how he accepted the appointment, he explains that his selection followed a long history of collaboration, travel, and a sense of duty. He recalls being elected to the Colombian House of Representatives in 1999, a moment that preceded his invitation to China and a 15-day journey through the country with fellow travelers, including Gustavo Petro. The experience left a lasting impression, shaping his understanding of China’s evolution—from a Cultural Revolution-era society to today’s dynamic, market-conscious landscape.
He notes the changes in Chinese society: the rise of new companies, the pursuit of wealth, and the strengthening of individual identity, all while collective interests continue to guide national policy. He emphasizes that this is not unique to China but a wider pattern across Asia, where shared goals often outperform individual ambitions in the long run. Cabrera believes that his appointment is a legitimate opportunity to serve his country rather than a personal favor, a sentiment he regards as a guiding principle for his diplomatic work.
Asked what mattered most in saying yes to the posting, Cabrera emphasizes a long-held dream of reengaging with Beijing, witnessing its transformations up close. He concedes that leaving behind film projects was a difficult choice, but acknowledges the counsel of the foreign minister and the chancellor, who framed the appointment as a national service rather than a personal pause. He also talks about his partner Silvia, who supported the decision despite concerns about their children’s schooling and careers. The couple eventually chose to embrace the opportunity together.
When asked whether his children remember the moment of acceptance, Cabrera reflects on his younger self: a believer in a Maoist path who joined Colombia’s armed struggle but later recognized that political change could be achieved without violence. He observes that a former guerrilla now presides over Colombia and another former guerrilla serves as ambassador to China, underscoring the evolution from armed struggle to democratic engagement and governance. His cinema, he says, has always aimed to illuminate political realities without dogma, prioritizing imagination as a tool for social change.
In imagining how his parents would react to his ambassadorial appointment, Cabrera suggests his mother would be pleased by China’s revolutionary example she admired, while his father remained committed to the guerrilla stance. He recalls his father’s time spent in Beijing and the years that followed, culminating in his father’s death shortly after returning home. His sister’s reaction echoed a similar sense of shared direction: old ideological convictions had to give way to a more nuanced, contemporary understanding of the world.
Asked about the perspective of his sister and the broader family, Cabrera notes a shared sense of relief that old partisan identities no longer define their era. The guerrilla period, marked by passion and ambition, was a crucible that shaped a generation; today, those stories are reframed as part of a larger historical record rather than a living creed. Cabrera sees the work of Juan Gabriel Vásquez as a kind of fresco of late-twentieth-century life, offering a way to comprehend the shift from radical struggle to mainstream civic engagement.
When the conversation turns to Cabrera’s diplomatic life, he admits that his early sense of inadequacy gave way to practical confidence after training and teamwork from seasoned colleagues. China remains Colombia’s second-largest trading partner, and the ambassadorship carries significant responsibility. He highlights the careful preparation involved in presenting credentials and the support of a competent diplomatic team that helps navigate a complex, evolving bilateral relationship.
Regarding global issues such as Ukraine, Cabrera remarks that China’s role in mediating conflicts is not a simple matter on the ground, and public perceptions in China do not always align with Western discourse. He points to a broader lesson from history: leftist movements can evolve, shifting from ideologies rooted in confrontation to platforms focused on practical governance and social progress. He cites China as an example of economic vitality, creative drive, and a capacity to influence international norms—despite its known flaws.
Ultimately, Cabrera frames his life as a continuous dialogue between art, politics, and national service. His experiences in cinema and diplomacy inform a belief that the best changes come from creative thinking applied to public life. The conversation with his sister, his readers, and the broader public reflects a conviction that personal history and national destiny are intertwined—an ongoing project of understanding and contributing to a more peaceful future for Colombia and its partners around the world.
Note: The interview includes reflections on family, national identity, and the evolution of political thought over decades, with explicit commentary on the role of art in shaping social change. The narrative emphasizes personal growth, shifting loyalties, and the enduring pursuit of a just, democratic society in a rapidly changing world.