Diego Sarmiento

Cargo boats form a non-lieu, a space of transition for the traveler staking journeys that can last days, as well as for the indigenous communities living on the edges of the Amazon River, fighting for the survival of their cultural traditions and struggling to adapt to modernity.

Feliciano, an 8-year-old alpaca herder, feels euphoric: Peru has a chance to qualify for the World Cup. Meanwhile the pressure of a mining company puts Feliciano’s village at risk and threatens his world and his dreams.

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A girl and a grandmother reflect on a dream in the Peruvian Amazon. They develop a deeper connection.

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Early every morning, young Jorge harvests bananas with his machete. After breakfast back in his village, he wanders with his friends in the lush wilderness around the Amazon headwaters. Childhood could hardly be more carefree or peaceful.

The lush green of the foliage forms a quivering reflection on the surface of the Amazon. According to the legends of the indigenous people of the region, the Yacurunas live beneath the water, in submerged cities that are the mirror image of human ones. Yet the film deals neither with mythical creatures nor with legends, catapulting viewers instead right into the midst of this incredibly green world.

MOTHERS OF THE LAND accompanies five women from the Andean highlands in their daily struggle to maintain a traditional and organic way of working the land.

The city of Cerro de Pasco, with approximately 80,000 inhabitants, is being steadily encroached upon by mining, which has generated a series of socio-environmental impacts. The Volcan mining company seeks to expand its operations, which will require displacing an old part of the city, at the cost of destroying historical monuments and thus damaging local identity.