Directing
This film essay proposes to consider feminism historically, connecting the past with the present. The images filmed today (March 8, 2024 in San Sebastián) interact with the sound and archives of the 1971 film "L'aggettivo donna," made by the Collettivo Femminista di Cinema-Roma.
In the depths of her mind, pain takes the form of a creature. A love relationship unleashes the obscurity within, to evoke in the real world, a world of shadows.
Nivardo and Ismael, more then seventy years old, are producing charcoal to survive in the current economic context of Cuba. Night after night, the two best friends are guarding a process of change. Hidden behind a fraught smoke. Surrounded by darkness they fight and do not give up in the face of dangerous work. Only the mutual support allows them to continue.
In the middle of Atacama Desert, vestiges of the last nitrate industry are​ ​found, while the residents witness the crash of an industry located in the driest​ ​place on Earth.
Somewhere on the coast of Cuba, three brothers and sisters spend the day by the sea. Laura Gabay observes them as well as the world they are constructing for themselves in the solitude of the shoreline. Time passes and, as the sun goes down, they are still there. Their gestures and games, which at first appear anodyne, gradually reveal the darker social reality of the island and its inhabitants.
The tourist train runs along the quays around the Jet-d'eau of Geneva. A succession of historical facts appear. Two lines cross each other.
After the coup in Uruguay in 1973, thousands of intellectuals and artists fled the country. The filmmaker’s father was among them and left for Europe. After his passing, she came upon some Super 8 movies and audio files he had recorded. Through this archive, she started building a new family story trying to reveal and understand the silent pain of exile.
