John Leguizamo boards Colombian cycling documentary Cyclovia

John Leguizamo has signed on as executive producer of Cyclovia, a feature documentary about Colombia's love of the bicycle, as Deadline reported. The attachment was disclosed on 9 October 2026. An executive producer credit usually signals senior backing, creative or financial, rather than hands-on direction of the shoot.

Cyclovia is directed by Finlay Pretsell and was shot across five regions of Colombia, Deadline reported. The film centres on the country's obsession with cycling, from city streets to mountain roads. The shoot was organised across those regions to capture daily riding life as well as racing culture.

Pretsell previously directed Time Trial, a 2017 film about professional cycling, Deadline reported. That experience in the sport shapes this new project. Cyclovia widens the lens from the pro peloton, the main group in a road race, to ordinary riders.

The producing team includes makers whose past credits include The Look of Silence, A House Made of Splinters and Alis, according to Deadline. Cyclovia already has broadcaster commitments from SVT in Sweden and YLE in Finland, meaning the channels have agreed to back and air the film. It is also backed by British and Colombian tax credits, rebates that return a share of money spent locally.

Public funding comes from Screen Scotland, the Swedish Film Institute, Film i Väst, AVEK and the Finnish Film Foundation, Deadline reported. That mix is common for independent documentaries. Films often pull together several national funds and broadcasters to cover the budget, with each partner taking rights or credit in return.

The filmmakers describe the project as a sensory odyssey through Colombia's cycling culture, exploring how the bicycle offers freedom, independence and hope, according to Sonja Henrici. Screen Scotland describes it in similar terms as a cinematic voyage weaving intimate stories of love and life around the rhythm of biking.

What makes this stand out is the breadth of the backing. Five regions. Two broadcasters. The list is long for a single documentary.

Five public funds sit alongside two tax credit systems. That structure tells you how documentaries of this size get made. No single studio writes the cheque. Small contributions stack up until the shoot can roll.