“A challenging and philosophical meditation on humanity’s relationship with the surrounding world.”

At some point (usually more than once), we’ve all come across that hopelessly trite adage of life being about the journey rather than the destination, a sentiment so overused it can’t be considered anything but a cliché by now. However, there are some examples where it’s actually an accurate description, since there is a degree of truth to the idea, especially when effectively discussed. This is where Manuel Ponce de León finds inspiration for In All My Journeys I Am Returning, his ambitious directorial debut. He invites us to accompany him to the 19^th century, where we are introduced to Karl Sigmund von Greiff and Petronella Faxe, a couple who set sail from their native Sweden to the unexplored jungles of Colombia. They expect to find wealth hidden in what they consider to be the most exotic of remote locations: an elusive gold mine which they believe will make them a fortune. This is only the start, as the story evolves from a depiction of the search for riches into something far more intriguing, a layered historical odyssey that looks beneath the surface and presents an unsettling image. One that is steeped heavily in some of history’s more uncomfortable realities, as these characters sail down the Magdalena River, observing the changing landscape that gradually envelops them. What begins as a historical adventure taking its cue from quest literature quickly turns into an atmospheric voyage into the past. The straightforward premise becomes something far more abstract and dreamlike, growing into a challenging and philosophical meditation on humanity’s relationship with the surrounding world as we search feverishly for meaning.

In All My Journeys I Am Returning is certainly not the first film to contrast a physical journey with a more metaphorical one, but it still finds insightful new observations on what has grown into a common point of conversation. The characters of Karl and Petronella set out with a clear purpose, believing that they will be the ones to conquer this supposedly new, uncharted territory. But as the journey grows longer and their resources deplete, they begin to understand why those who came before them failed, the hostile conditions of this endeavor stripping away their optimism until nothing is left except to confront their own inner demons. This is all meant to engage with the enigmatic nature of the past, and Ponce de León presents history not as fixed or rigid, but always dynamic, constantly shifting as we unearth new aspects that intrude on the present in unexpected ways. The core of the film in particular uses this approach to explore the often-contentious relationship between humanity and the natural world, where our belief that we can tame the environment is constantly proven to be pure arrogance, quickly dismantled by the overwhelming forces that pay no attention to social status, material wealth or even the ambitious growth of civilization as a whole. In this environment, titles cease to matter, and the only priority becomes survival. Into this tapestry, the director weaves themes of isolation and social alienation, with the protagonists growing increasingly distant from their home, but also losing the emotional tether that they swore they’d maintain by any means necessary. It’s a result of drifting through unfamiliar landscapes where the passage of time ultimately comes to mean very little, a fascinating approach for a film about the negotiation between the past and present.

Thematically, In All My Journeys I Am Returning is a rich and complex film, yet the reason it works so well is that the director understands it is not enough to introduce these bold ideas, for they have to be pieced together carefully to pique the audience’s curiosity and hold our attention throughout. The film employs a deliberately slow, meandering pace, which establishes the atmosphere and sets the tempo for a far more complex character study than the run-of-the-mill historical dramas that have attempted to look at similar subject matter. Rather than generating suspense through the plot unfolding in a traditional manner, the film invites the viewer to meditate on every frame, encouraging reflection by removing any sense of urgency from the story, almost to the point where it becomes intentionally uncomfortable. The combination of vivid cinematography that captures the raw beauty of the Colombian wilderness, with a unique musical score which oscillates between tranquil and foreboding, contributes to the mood, creating an immersive environment that quietly consumes the viewer. Part of this can be attributed to the tone, which is constantly putting us in a sense of persistent unease as we watch these characters navigate hostile conditions, while rarely encountering overt danger. The feeling, however, that they are always only a stone’s throw away from peril lingers heavily over the film, even if the greatest threat is not any physical danger, but rather the emotional and spiritual toll that it takes on these people, causing scars that are unlikely to heal easily.

In All My Journeys I Am Returning requires a certain degree of patience, since this is far from the conventional historical epic one might expect based on a cursory glance. However, it thrives by establishing a clear perspective, squarely between the visceral and the ethereal, refusing to distinguish neatly between memory and imagination; this makes it a remarkable piece of filmmaking, albeit one that intentionally leans towards the unorthodox. Once we recognize the film’s storytelling rhythm, the viewer is able to surrender to its peculiar charms, discovering a quietly poetic and rewarding experience lingering beneath its unconventional exterior. This is a film about memory and identity, as told through the careful negotiation between the past and present (with bookends as a framing device set in the present day, an interesting choice that isn’t explained but left to individual interpretation). It explores how we inevitably return to the past, even if only momentarily, in order to make sense of the world around us, which can be an inescapable burden or an act of liberation depending on our perspective at any given moment. What starts as a search for material wealth gradually evolves into a poignant story of exploration, in which the most meaningful discoveries are internal, each revelation suggesting something deeper about the human condition. Historical accuracy is not a notable concern here, and the film never feels confined to a particular set of facts, using the page merely as a narrative landscape on which it can examine certain complicated subjects surrounding displacement and the desire for a sense of belonging. It may not always provide answers, but it nonetheless lingers in the mind long after its final image has left the screen, inviting the audience to contemplate the sometimes-fragile boundary between the past and present.