Ana Elena Tejera's "Culebra Cut": A Cinematic Exploration of Historical Wounds

Ana Elena Tejera, a Panamanian filmmaker known for her debut feature "Panquiaco," is currently in production on her new film "Culebra Cut" ("Corte Culebra"). The film, set in the year 2000, explores the aftermath of the Panama Canal's return to the country, focusing on the complex legacy of nearly a century of U.S. occupation. It features Daniel Giménez Cacho alongside D’Angelo Simmons, a firefighter who was discovered through an extensive casting process. The narrative follows a group of Panamanian soldiers, including the protagonist Ernesto, as they enter the previously restricted Canal Zone, confronting both personal and collective historical wounds.

Variety Magazine

"Culebra Cut" delves into themes of identity and belonging, particularly through Ernesto's journey as a mestizo navigating a fractured sense of self. Tejera emphasizes the urgency of telling this story in the current geopolitical climate, particularly in light of recent U.S. interests in the Panama Canal. She articulates the film's core conflict as a reflection of the broader struggle to reclaim a land from which Panamanians were displaced, questioning how to inhabit a territory marked by historical trauma.

Variety Magazine

Tejera's film emerges against a backdrop of renewed U.S. military presence in Panama. Following statements from former President Donald Trump regarding the Canal's control, the U.S. and Panama have strengthened their military partnership, increasing joint training exercises at various Panamanian sites. Tejera notes that this resurgence of U.S. influence reflects a continuity of occupation that has never fully dissipated, asserting that "they never really left."

Variety Magazine

"Culebra Cut" is a collaborative effort involving multiple international co-producers, including Mestizo Cinema (Panama), Fulgurance (France), Tarantula (Belgium), Intra Movies (Italy), and GROM (The Netherlands). The film has garnered support from significant funding bodies, such as Panama’s Fondo Cine, France’s CNC National Film Board, and the World Cinema Fund. Tejera's project has also been developed through prestigious platforms, including the Locarno Film Festival residency and markets in Venice and Rotterdam.

Variety Magazine

While Tejera's film aims to address historical injustices, it also invites scrutiny regarding the portrayal of complex identities and the implications of revisiting painful histories. Critics may question whether the film can adequately capture the multifaceted nature of Panamanian identity and the ongoing impact of U.S. involvement in the region.

Variety Magazine

• “That experience stayed in my body in a visceral way. Ever since, I’ve carried these questions with me: How do you reinhabit a land from which we were displaced for a century? How did we – those children – end up carrying the legacy of fourteen military bases and minefields we never chose?” — Ana Elena Tejera, Filmmaker

Variety Magazine

• “They never really left; Since April 2025, they have been stronger than ever,” — Ana Elena Tejera, Filmmaker

Variety Magazine

The film is set to premiere at the 14th IFF Panama, which runs from April 9 to April 12, 2026. Tejera's exhibition titled “1.432 km² of Humiliation: Gestures Against the Evil Eye,” which addresses similar themes, will also be showcased in Taiwan following its run at the Panama Canal Museum.

Variety Magazine