Bogotá at dawn, the fog disperses the light of the street lighting, everyone sleeps and someone wants to start dreaming without forgetting that he is sleeping, the voice meets others who share the same desire, a portal of luminous clashes opens.
A still life out of the ordinary, a still life that keeps the imagination alive. Animation gives life to the parts of a painting, generating new compositions that at the same time form a narrative transit.
Entelechy is the Aristotelian term used to indicate the inner purpose inherent in every being or reality, a kind of state of perfection of a thing that has reached the purpose for which it was intended.
Homo makes visible the experience of intimacy of a human being who inhabits an interior space, private and reserved for the solitude of a single inhabitant. The room, as a metaphor for the primordial house, is the image of lost intimacies.
A young woman wanders around Bogotá and inadvertently falls asleep on the shoulder of a man on a bus. A black and white portrait of the capital in whose streets and nooks and crannies levitates a bourgeois youth as cold as its asphalt and as tender as a lemonade stand.
Todo es Culpa de la Sal is a sympathetic and questioning look at the excesses, absences and responsibilities of the members of a family of lazy bears that, with sweet humor, focuses on each member, but especially on the archetype of the caregiver, the mother, and her way of preserving the family union. The eldest daughter will be in charge of reconstructing the family memories.
This hypnotic succession of overlapping images opens to think relations between these (and other) pandemic times and worlds-more-than-human. Above all, to affect ... is an invitation to worldliness, that is, to feel the intensities of life present in things and spaces.