Juan Alejandro Ramírez

A tapestry of seemingly unconnected vignettes beginning with an extraordinary event at the 1936 Olympic Games in Berlin, where the victory of the Peruvian football team was declared void. The film mixes the personal with the political and the historical, going from a portrait of an optimistic taxi driver to that of three waiters of a train to that of an alienated outsider living in the Amazonian forest region.

While working as a photographer in Benin, West Africa, a two-week trip will turn into a two months personal journey. Me dicen Yovo (I'm a Yovo) is a visual diary of that experience. A Peruvian traveller is an odd presence in Benin whose ethnic a cultural identities are constantly creating unique situations, and provoking original thoughts on what it means to be from the "third world".

The camera is reflected in the rearview mirror of a car sliding down a dusty desert road on the Peruvian coast. This image symbolically captures the director behind the lens, observing a vast empty space that slips from the sides, trying to escape the center: the present, which simultaneously represents memory, which is at once here and yet always far from here.

A meticulously filmed documentary portrait of the hard life of the cargadores who trek through the mountains of Peru with baggage on their backs.

A woman faces an uncertain future. She recounts her life in shorts, summaries, broad strokes, and seemingly disconnected episodes. One by one, the scars and bitterness left by a life of obligations, sacrifice, and scarce joy emerge inexorably. Díario del fin is a visceral, moving record; filled with liberating and brutally honest confessions, in which every sentence is permeated with a profound introspection and a clarity of perception that seem to surface only in extreme situations—those with no point of return.