Carolina Astudillo Muñoz

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"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.

After fighting on the Republican side during the Spanish Civil War, a man goes into exile in France while his family waits for his return in a Catalan village.

An acid humor essay that questions everyday aspects of life that make us need to achieve motherhood, with a critical view on contemporary maternity. Are we obsessed with what is biological? Is the cycle of mothers to daughters perpetuated?

Dominique, Suzanne, and Annette: three women who participated in the adventure of the Medvedkine groups (Besançon, Sochaux, 1967-1974). In those same years, the lives of our grandmothers and mothers experienced decisive changes: they worked outside the home and revolutionized customs. A group of Besançon students are investigating those events and questioning their own family memory.

War as a preposterous and absolutely masculine fiction -as well as the educational and occupational exclusion of women in a society that educates them to serve and be mothers- is repudiated by Virginia Woof in Three Guineas. The Civilization Desire is a piece that appropriates family movies filmed in Spain during the Republic, the Civil War and the early years of Francoism. The home movie becomes an alternative chronicle to the great stories, that reveals social differences and gender stereotypes learned from childhood, in the civilization of strength, despised by Woolf.

A family that films, records and photographs daily life. Ainhoa, the youngest daughter, decides to start writing what she doesn’t want to tell anyone during her adolescence. In her diaries, which she preserves until her death, there are many experiences, stories and letters related to the experience of women. Ainhoa writes, films and she also represents herself. Ainhoa is an essay on women’s writings. An alternative chronicle to the official Spanish history of the 90’s, told from an intimate point of view and based on a real testimony.

Libertad, Enriqueta, Maricarmen and Albert evoke the years when their mothers and his aunt stayed in Les Corts jail, times of innocence, hopelessness and distress. Their childhood stories inmmerse us in a world whose main characters are memories, oblivion and the passing of time.

Freud described the sinister (unheimlich) as a contradictory experience where the strange is presented to us as known and the known becomes strange. A granddaughter discovers that her grandmother's past was very different from what she had been told. Could it be that in times of war, morality is subordinated to survival?

In November 1974, the Principal of a small school in Santiago was kidnapped and taken to a detention centre by State agents, who accused her of belonging to the Revolutionary Left Movement (MIR). Her account, more than a memory of her stay in a clandestine centre, is focused on the impossibility of narrating an experience like this. The torture experience is inaccessible. There are no images or words which can represent it.

The apparent quietness of a sunny Sunday kindles the walkers of New York. Do they not hear the chants for peace, the shouts against war or the agitation in the streets caused by the civil rights movements? A letter addressed to a brother, the words of poet Langston Hughes and the jazz rhythm reminds us that 1967 was a hectic year.

In the early years of the Franco dictatorship, Clara Pueyo Jornet, an active militant in the Communist Party, escapes from Les Corts prison in Barcelona by the front door. From that moment, she vanishes without a trace. She had been living on the run and she sought to escape from the rigidity of her own party. Her story is also the story of the women of her time and their struggle for freedom in a society that tried to repress them.

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On August 12, 1944, a Nazi German battalion invaded the Italian village of Sant’Anna di Stazzema, located in the Apuan Alps, and perpetrated a brutal massacre that claimed the lives of 560 residents and refugees, most of them women, girls and boys. Adele Pardini was barely four years old when she miraculously escaped execution. Her sister, Siria, aged nine, was also saved by being in the camp with her father on that fateful day. This atrocity was not an isolated event, but was repeated in other villages in Tuscany and throughout Italy. Adele and Siria told me their story. How to tell this tragedy?

Chris Marker resonates in the dedication and spirit of this film about memory and resistance. A video essay by Carolina Astudillo, an explorer of individual and collective pasts, in the limbo between Chile and Spain, about the resignification of spaces, about how a stadium can become a mass prison or a university city a huge trench. On the registration of images as an act of insubmission.