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Friday, Mar 13, 2026
Outside the box.
Pepe Review – Examining the Legacy of Pablo Escobar's Hippos
Nelson Carlo de Los Santos Arias' Innovative Docu-Fiction Explores a Unique Ecological and Cultural Phenomenon
Nelson Carlo de Los Santos Arias, a Dominican filmmaker known for his challenging and thought-provoking works, has crafted an intriguing docu-fictional piece that has captivated audiences since its debut at the Berlin Film Festival.
The film centers on 'Pepe,' one of the infamous hippos once owned by Colombian drug lord Pablo Escobar, and offers a meditative exploration of historical consciousness and ecological adaptation.
In the 1980s, Escobar imported several exotic animals, including hippopotamuses, to his private estate in Colombia.
Following his death in 1993, these creatures were left to fend for themselves, gradually adapting to the local ecosystem.
Today, they thrive in the wild, presenting both a unique ecological challenge and a fascinating subject for Arias' docu-fictional narrative.
The film opens with a scene of a child watching a cartoon about a hippo named Pepe.
This child, we learn, is the son of a German hunter who later becomes entwined in the story of tracking the real Pepe.
The audience is subsequently drawn into a dreamlike portrayal of Pepe's imagined experiences, articulated through a multilingual stream of consciousness.
As he drifts downriver, Pepe reflects on his newfound freedom while feeling the persistent grip of his predestined path.
Arias employs stunning cinematography, including breathtaking drone shots that transport viewers to the hippos' original habitat in Namibia.
The director skillfully weaves scenes set in post-Escobar Colombia, particularly focusing on a terrified fisherman named Candelario (portrayed by Jorge García).
Candelario, upon encountering the massive animal, becomes entranced by the creature, viewing it as his personal white whale.
His wife, Betania (played by Sor María Ríos), suspects that her husband's obsession with the hippo masks an extramarital dalliance.
Pepe serves as more than just a character or a whimsical departure into the region's historical milieu.
The film subtly examines the broader implications of the hippopotamus as a symbol that straddles cultural narratives of the Global South.
The German tour guide's observation at the film's onset highlights the dichotomy of the hippo’s appearance: seemingly gentle yet inherently dangerous.
This duality resonates with the film's structure—its expansive narrative and rich digressions mirroring the ethereal and foreboding nature of these creatures.
Arias' work is as artfully nuanced as its subject matter, offering viewers an entrancing experience while challenging preconceived notions of narrative cinema.
Despite its peculiar and whimsical presentation, the film possesses a sharpness, much like the hippos it portrays—a reminder of the perilous yet captivating legacy left behind by one of the world's most notorious criminals.
The film centers on 'Pepe,' one of the infamous hippos once owned by Colombian drug lord Pablo Escobar, and offers a meditative exploration of historical consciousness and ecological adaptation.
In the 1980s, Escobar imported several exotic animals, including hippopotamuses, to his private estate in Colombia.
Following his death in 1993, these creatures were left to fend for themselves, gradually adapting to the local ecosystem.
Today, they thrive in the wild, presenting both a unique ecological challenge and a fascinating subject for Arias' docu-fictional narrative.
The film opens with a scene of a child watching a cartoon about a hippo named Pepe.
This child, we learn, is the son of a German hunter who later becomes entwined in the story of tracking the real Pepe.
The audience is subsequently drawn into a dreamlike portrayal of Pepe's imagined experiences, articulated through a multilingual stream of consciousness.
As he drifts downriver, Pepe reflects on his newfound freedom while feeling the persistent grip of his predestined path.
Arias employs stunning cinematography, including breathtaking drone shots that transport viewers to the hippos' original habitat in Namibia.
The director skillfully weaves scenes set in post-Escobar Colombia, particularly focusing on a terrified fisherman named Candelario (portrayed by Jorge García).
Candelario, upon encountering the massive animal, becomes entranced by the creature, viewing it as his personal white whale.
His wife, Betania (played by Sor María Ríos), suspects that her husband's obsession with the hippo masks an extramarital dalliance.
Pepe serves as more than just a character or a whimsical departure into the region's historical milieu.
The film subtly examines the broader implications of the hippopotamus as a symbol that straddles cultural narratives of the Global South.
The German tour guide's observation at the film's onset highlights the dichotomy of the hippo’s appearance: seemingly gentle yet inherently dangerous.
This duality resonates with the film's structure—its expansive narrative and rich digressions mirroring the ethereal and foreboding nature of these creatures.
Arias' work is as artfully nuanced as its subject matter, offering viewers an entrancing experience while challenging preconceived notions of narrative cinema.
Despite its peculiar and whimsical presentation, the film possesses a sharpness, much like the hippos it portrays—a reminder of the perilous yet captivating legacy left behind by one of the world's most notorious criminals.
