El polvo ya no nubla nuestros ojos

Executive Production: Mano Alzada. With: Diana Ríos Rengifo, Jesús Orccottoma Cárdenas, Igor Alfaro Méndez, Juan De Dios Carrasco, Camila Vega Ferrari, Ana Karina Barandiarán, Pacha Sotelo Camargo, Gabriela Wiener, Whinney Ramos Laque, César Vargas, Consuelo Salas and Melvin Almonacid.

Festival de Lima - Filmocorto, Festival Internacional de Mar del Plata, Festival de Cine de Trujillo, Corriente Encuentro Latinoamericano de Cine de No Ficción, Transcinema Festival de Cine, Berwick Film & Media Arts Festival.

Spanish première

A set of memories, a series of readings. After three hundred years as a nation, Peru has accumulated many struggles in different regions and at different times. This Super 8 mm film calls in fighters and debts in a compilation of discourses from the most intimate side of our recent history.

2021 was the bicentenary year of Peru as a nation, though these last few years have not been its only ones. They have been full of fires. The first film by Colectivo Silencio marks this anniversary with a national memory that does not belong to the official celebrations, a memory of resistance that is no longer just a memory because today there are trenches in its streets. The film falls back on another history that belongs to it, not on the fiction that is a country, but on the history of film, of a political/poetic film that accompanies, that has accompanied on the screen voices, bodies, history lessons and a land that refuses to be just landscape. In different shots documents are read aloud, making them indelible, proof of past and future struggles: indigenous and peasant, rural and urban workers, women and dissidences. Each of them shines with a light of its own, and a beauty that springs from the wish to put a lasting memory back on record, to take victims mourned only by those closest to them and make them live on in memory. Everything has a time to be looked at and admired, everything that has been taken away and, by being filmed, is returned to them: the sky, the pasture, the cement, the street lights, the outside walls of a burnt-down building, the graves of the dead. Injustices that the date shows are old are strung together, as if those white national struggles - the wars of independence - had left a land free from slaveries. As if they hadn't carried on.

Lucía Salas