Bibiana Rojas Gómez

I am grateful to the Chinese for the invention of gunpowder — it feels as if they made it for me. Its discovery happened by accident, originally conceived as a way to ward off evil spirits. This film begins in China, then moves to an event in Cartagena, and ends centuries later in Bogotá.

Anzoategui is a short animated documentary film, inspired by the director’s questions about the story of the hometown of her mother and grandmother, which they left forty years ago. The town’s name appeared in conversations, but she never heard the reason for their departure, so it became a mystery. Her questions led her to find episodes of the family story, both happy and dark and met people who lived with them in the town.

It is a collaborative project that was developed from the documentation collected in extensive travel through four Latin American cities: Mexico City (Mexico), Buenos Aires (Argentina), La Paz (Bolivia), and Lima (Peru). The result is a new journey constructed with sound and animation. This reconstruction was made from the memories ot the journey to Lima, from the interaction with each city and with epistolary communication.

It is a collaborative project that was developed from the documentation collected in extensive travel through four Latin American cities: Mexico City (Mexico), Buenos Aires (Argentina), La Paz (Bolivia) and Lima (Peru). The result is a new journey constructed with sound and animation. This reconstruction was made from the memories of Mexico city , from the interaction with each city and with epistolary communication.

Dressed In Green Many of the youths recruited by the guerrillas in the Vaupés region were taken from their schools. This is the story of one of them. She tells about the days in the camps and how the experience only gives her a feeling of hatred and revenge.

t is a collaborative project that was developed from the documentation collected in an extensive journey through four Latin American cities: Mexico City (Mexico), Buenos Aires (Argentina), La Paz (Bolivia), and Lima (Peru). The result is a new journey constructed with sound and animation. This reconstruction was made from the memories of La Paz Bolivia, from the interaction with each city and with epistolary communication.

Tulia finds a suitcase containing a series of mysterious drawings, notes and diagrams. Without knowing how, they appear in her house and from then on her life begins to change, she loses the idea of past and present, of sleep and wakefulness. Tulia has to find an order for the images and prevent the universe from suffering an irreparable change. This film navigates between reality and fiction, between humour and tragedy, to immerse us in the question of time and error.

Salomé reviews decades of family videos to understand her mother's sadness. In this search, she uncovers a past marked by exploitation and historical violence in Colombia and Latin America. By using artificial intelligence to imagine a less terrible world, she discovers that it is easier for us to conceive the end of the world than the end of capitalism.

The experimental animated film Song of the Flies (El Canto de las Moscas), translates the desolation caused by the violence of the Colombian armed conflict through the poetic voice of Maria Mercedes Carranza (1945–2003) and the audiovisual dialogue between 9 Colombian women. In 24 places, as a transit over the course of a day (Morning, Day, Night) a map of terror is drawn where massacres took place in Colombia in the 1990s. Archival images, the artists’ personal memories and the use of loops and analogue materials bring to life the landscapes ravaged by violence and build a polyphony of memory and mourning, a universal song of pain.

It is a collaborative project that was developed from the documentation collected in an extensive travel through four Latin American cities: Mexico City (Mexico), Buenos Aires (Argentina), La Paz (Bolivia) and Lima (Peru). The result is a new journey constructed with sound and animation of Buenos Aires. This reconstruction was made from the memories of the journey, from the interaction with each city and with epistolary communication.

After the disappearance of Aldemar his wife decided to get overall uncertainty by including him in the list of deaths in the 1938 Colombian National Census. Today, 83 years later, I repeat her. I try to find myself among the numbers in the digital database in order to finish the torture that has also implied my own disappearance.