Pamela Varela

"The palm trees on the reverse are a delusion; so is the pink sand". This line, taken from a poem by Margaret Atwood, lights the path traced in "Postcard". As the years go by, landscapes transform, take on new meanings, and hold onto joys that will never be regained. The sea and the beach, once stages of happy summers, romances, and encounters, will turn into concentration camps or centers of detention and torture. This occurs across different times and places. In this piece, I embark on a journey through some of my works that explore the relationship between testimony, spaces, and time, engaging in dialogue with the beautiful film directed by Alejandro Segovia in 1972.

Between France and Chile, the journey of a young woman following in the footsteps of Chilean poet Francisco Contreras' exiled wife jostles fiction and reality.

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A visual and informative essay on the binary system inherited from European colonization.

In French Guiana, in the middle of the carnival period, Emmanuel and Léon, two young, mixed-race brothers, attend their grandmother's funeral. Confronted by the reminiscences of the past, the memories of their childhood resurface and with them deeply buried secrets.

Recounting the stories of several personal commitments, Passeurs outlines the key steps of an unprecedented mobilization, telling a story of AIDS which joins in with the wider field of social history. Tackles the essential work of coming to terms with our past. Today, more than thirty years after the beginning of the epidemic, it is possible to look at the cultural and social history of AIDS. AIDS cannot be considered as a meaningful event but as a generator, an initiator, a producer of new activism. he history of AIDS is part of social history, emphasizing more particularly the capacity of invention of associations and new modes of political action. This film will assess and analyse this mobilization through real life stories which highlight the human dimension. We met famous people, characters, unknown people, and associative and political stakeholders in the United States, in France and in Africa.

From memories of Chile and France,fragments of images gather together with a family secret, a scattered and painfully melancholic story is constructed.