Carolina Astudillo Muñoz

In November 1974, the Principal of a small school in Santiago was kidnapped and taken to a detention centre by State agents, who accused her of belonging to the Revolutionary Left Movement (MIR). Her account, more than a memory of her stay in a clandestine centre, is focused on the impossibility of narrating an experience like this. The torture experience is inaccessible. There are no images or words which can represent it.

Freud described the sinister (unheimlich) as a contradictory experience where the strange is presented to us as known and the known becomes strange. A granddaughter discovers that her grandmother's past was very different from what she had been told. Could it be that in times of war, morality is subordinated to survival?

After fighting on the Republican side during the Spanish Civil War, a man goes into exile in France while his family waits for his return in a Catalan village.

The apparent quietness of a sunny Sunday kindles the walkers of New York. Do they not hear the chants for peace, the shouts against war or the agitation in the streets caused by the civil rights movements? A letter addressed to a brother, the words of poet Langston Hughes and the jazz rhythm reminds us that 1967 was a hectic year.

An acid humor essay that questions everyday aspects of life that make us need to achieve motherhood, with a critical view on contemporary maternity. Are we obsessed with what is biological? Is the cycle of mothers to daughters perpetuated?

A family that films, records and photographs daily life. Ainhoa, the youngest daughter, decides to start writing what she doesn’t want to tell anyone during her adolescence. In her diaries, which she preserves until her death, there are many experiences, stories and letters related to the experience of women. Ainhoa writes, films and she also represents herself. Ainhoa is an essay on women’s writings. An alternative chronicle to the official Spanish history of the 90’s, told from an intimate point of view and based on a real testimony.

"The palm trees on the reverse are a delusion; so is the pink sand". This line, taken from a poem by Margaret Atwood, lights the path traced in "Postcard". As the years go by, landscapes transform, take on new meanings, and hold onto joys that will never be regained. The sea and the beach, once stages of happy summers, romances, and encounters, will turn into concentration camps or centers of detention and torture. This occurs across different times and places. In this piece, I embark on a journey through some of my works that explore the relationship between testimony, spaces, and time, engaging in dialogue with the beautiful film directed by Alejandro Segovia in 1972.

Chris Marker resonates in the dedication and spirit of this film about memory and resistance. A video essay by Carolina Astudillo, an explorer of individual and collective pasts, in the limbo between Chile and Spain, about the resignification of spaces, about how a stadium can become a mass prison or a university city a huge trench. On the registration of images as an act of insubmission.