The Strategy of the Snail

The film opens with journalist Jose Antonio Pupo interviewing Gustavo Calle Isaza after the events. Calle Isaza explains that the house itself was moved to a new location by ingenious means, setting up the central mystery. The interview frames the narrative and grounds the present-day perspective of the story.

Six years ago, the old mansion La Casa Uribe becomes home to a diverse community of people who occupy it as squatters. The space turns into a living hub where different backgrounds share a single goal: making the house a place to belong. This origin sets the stage for the coming conflict with the owner and authorities.

The neighboring Birdhouse, La Pajarera, is targeted for eviction by the wealthy owner Dr. Holguin. Authorities move in to enforce the eviction, while the residents fortify themselves, locking doors and firing at the police. The standoff signals the escalating violence around the two houses.

During the confrontation, a child is killed by police return fire, heightening the tragedy. The survivors ultimately surrender, and the eviction of La Pajarera is completed. The incident deepens the community's resolve and foreshadows the harsher tactics used elsewhere.

With the legal fight ongoing, Casa Uribe's inhabitants are represented by Perro Romero, a crafty lawyer who can slow proceedings with legal tricks. His unconventional methods keep the tenants in a limbo of time while Holguin seeks to finalize the eviction. The dynamic between Romero and the others becomes central to the struggle.

Holguin intensifies the pressure by having Romero kidnapped and beaten, destabilizing the tenants' legal defense. The assault exposes the corruption surrounding the eviction and raises the stakes for everyone involved. The violence underscores the power imbalance at play.

Jacinto, a Spaniard and former stagehand, devises a plan to remove everything inside La Casa Uribe and transport it elsewhere. He demonstrates the method by using a rope and pulley setup on the Colón theater stage. The plan reframes the house as a portable, movable space.

While preparations proceed, Misia Triana discovers the silhouette of the Virgin Mary painted on a wall, which convinces her to join the effort. The discovery adds a moral and spiritual dimension to the residents' resistance. Her belief strengthens the group’s resolve.

The tenants begin removing the interior of La Casa Uribe, taking out walls, bathtubs, kitchens, and other fixtures for relocation. The operation requires careful coordination and trust among the residents. This dismantling turns a house into components ready for transport.

To gain additional time, Romero tells Holguin's corrupt lawyer that the tenants intend to repaint the house before leaving. The lie buys crucial days as the authorities reassess their plan. The deception highlights the improvisational nature of the tenants' resistance.

As the lawyers, police, and Holguin approach to confirm the tenants have left, a huge explosion rocks the site and collapses the house's facade. The blast abruptly halts the eviction and shifts control of the situation. Dust fills the air, making it hard to see what remains intact.

When the dust clears, a wall remains painted with the bold slogan 'Here's your motherfucking painted house.' The message serves as a defiant statement from the tenants against the eviction. It stands as a symbolic victory amid the chaos and collapse.

The film returns to the journalist, who interviews Calle Isaza again to close the story. The former inhabitants are shown grouped on a hill with a panoramic view of Bogotá, signaling memory, resilience, and the costs of fighting for a home. The final images reflect on the community's fate beyond the immediate conflict.