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Mudos testigos is a cinematographic collage made from all the surviving material of Colombian silent films, re-editing the images in such a way as to create a single imaginary film: the impossible love story of Efraín and Alicia that traces the convulsive first half of the twentieth century in Colombia. Compiled by the late Luis Ospina and finished posthumously by Jeronimo Atehortúa.
An actress prepares for the theatrical adaptation of Hitchcock’s Vertigo. One of the technicians who works at the same theater becomes obsessed with her, because he is reminded of his dead wife.
This documentary, made entirely of archival footage shot mainly by amateurs, revisits 50 years of Chilean history. A fascinating lesson in memory, this personal montage adopts a popular, even fringe, perspective to help write a more complete national memory. As the filmmaker asserts in her narration, there’s the history we’re told, the history we live, and the history we tell ourselves. Between the coup d’état of September 11, 1973, and the recent double failure of the new constitution project, this film shows that the people of Chile have long oscillated between excitement and disappointment, accumulating shattered hopes. Rejecting the pessimism that would trap us in collective immobility, Karin Cuyul instead draws on the past to ask how we can continue to dream of the necessary social and political changes.
Like a word about to be discovered but never heard, Jeròmino Atehortùa's Una película (secreta) peels back the layers of a moving archive of silent Colombian cinema. A kind of mystery seems to live under each of the images, and as the film progresses, a secret language draws a labyrinth: each sequence is a distorted repetition of the previous one, a deformed extremity of a hidden language that unveils those drives and manias of the archive.
In my city, more than 11,000 km away, there is a small street called Estado de Palestina, but nothing can be seen there.