Julián García Long

The first films of Patagonia - where I grew up - show a territory that no longer exists, as the araucarias, millenary trees from the Patagonian forests, were in part replaced by more productive pines. Near my new home, in Belgium, I find araucarias that adorn front gardens. We hear some girls playing in the car, pointing out araucarias on the road. How did these plants become a petty-bourgeois fashion in northern Europe? I confront these archives with contemporary technoscientific images, used by a lab to explore plant modifications. What can these modes of representation tell us about our time?

From the Mountain We See the Mountain blends haunting imagery and whispered myth to explore a land marked by ecological trauma and the colonial experience. As animals and humans cautiously re-emerge after a forest fire, rumours swirl: was it an accident, an act of nature, or something more insidious? Through eerie nighttime scenes, surreal lighting and interviews lit by the flicker of imagined flames, the film evokes a sense of environmental dystopia and quiet resistance. Balancing elements of myth, sci-fi and thriller, the film conjures a land reckoning with monsters it did not create.

I travel around Sweden listening to the tapes recorded by my parents 40 years ago, when they fled the Argentine dictatorship. Has the revolutionary fire that animated them been extinguished in Swedish comfort? I chat with my father, looking for ghostly images, created from family memories. There are traces that give us a glimpse of another possible world."

20 years ago Karina became the first gypsy lawyer in Argentina. A turning point in the history of a family and a community. A series of intimate portraits of women who dialogue about transmission, belonging and rupture.