Paralelo 28 portrays the workers’ conditions at the world’s biggest salt mine, in the north of México, and tells the story of a one-eyed dog/welder who steals the workers’ lunch. It’s a film interested in the paradox of representation of raw material, vision, landscape, machines, workspaces. This paradox, that we can synthesize as the impossibility of showing a body’s three dimensions through two-dimensional images, maybe points out at raw material and work —at this moment of history where there’s no more distinction between the objects’ presence and images’ representation— as the only proof of the world’s volume and weight.
Santiago Bonilla studied Hispanic language and literature, and wrote a thesis on memory. He studied Filmmaking at the Centro de Estudios Cinematográficos (CUEC-UNAM) where he directed several short films. She was awarded the Jóvenes Creadores - FONCA grant with Ximena Cuevas as her tutor. He won the script award at the XV Morelia International Film Festival (FICM) and since then he has worked as an assistant director and cinematographer. His work focuses on memory and landscape.
Paralelo 28 (2020), Cascajo (2019)