In the film Escobar: Paradise Lost, the editing generates excitement and anxiety, creating an interesting and spacial style that reflects a cinematic signature for Andrea Di Stefano’s impressive debut as a director. In addition, the hand held camera movement in every scene makes us feel emotions and sensations from Nick’s (Josh Hutcherson) point of view throughout the narrative. Furthermore, the very well detailed mis-en-scence reveals thorough study and research of locations, props, and costumes; intensity of colors and light in each frame are magnificent. Moreover, the efficient use of foreground, middle-ground, and background from beginning to end demonstrates a well-designed piece of art. In the plot, we find murder, corrupt governmental, news, and prison systems, a love story, and a web of lies crafted by power-hungry Pablo Escobar (Benicio Del Toro). It was important for the form not to get in the way of the content in order tell the story in a realistic way, involve the audience, and help them understand the social structure of Colombia at that time. Nick is the most important character in this love story, and he is an innocent victim, used as a marionette by Escobar, the world’s most dangerous person.