Gilmar Gonzales

Man, city, machine. Once you've boarded the Enterprise, follow the driver's instructions.

Some of the materials and studies that were made during 2015 for the conformation and creation of the short film New life. The selection, the re-appropriation and the montage of them, conform a new poetic that has a direct relation with the final work and at the same time opens a space that allows us to glimpse the creative process, transforming itself into a piece in itself. Materiales is like the B-side of another cinematographic work, as in the old 7-inch vinyl sigles.

Elder Mamaní’s father has died, and it looks as if young Elder couldn’t care less, even though he has no one to take care of him now. He goes to live with his grandmother in the outskirts of the mining city, Huanuni, where Francisco, his godfather, gives him a job at the mine. But it doesn’t take long for Elder, who cares more about getting high and wandering through dangerous alleys at night, to mess it up. But he soon finds out about a dark secret regarding Francisco’s involvement in his father’s death…

Amid the lunar landscapes of the Bolivian mountains, the few traces of human presence seem minuscule, anecdotal. Shot by shot, Miguel Hilari’s camera follows these clues that lead to the city and its sonic confusion, where faces are captured with the same attention and poetry as the environment in which they live.

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The production of bricks has a history, with various predecessors. The idea that the Tiwanaku people developed cement seems more improbable to us than stories of extraterrestrials. We contemplate this while repeating the imagined antiquity, more like the precariousness of madness made manifest.

Raúl, an outcast taxi driver harassed by the Alfa Cab Company, seeks peace. In a chase, he accidentally crashes onto a homeless person. However, tragedy takes an unexpected turn when the body mysteriously disappears at dawn

We weren't seeking salt, but something less controversial—a culture exemplary in many senses, with its myths and the representations made by travelers. Dictionaries, documentaries, sociology books about the first humans. However, what we found was a series of poorly disguised lies throughout a system of audiovisual representation of the last government, but also of all governments. This film is about our precarious system of lies and our questions about what might be underneath or in front. In this case, in relation to salt, lithium, myths, mythologies, and mystifications.