Mireya Martinez

Honing a quiet strength, Lata, a 23 year old domestic worker, navigates her way through an upper class home in South Mumbai. Doors consistently open and close, giving Lata selective access to the various contending realities that occupy this space.

Six roommates share a cramped four bedroom apartment. One moves out. Another moves in. In the process, the precarious balance of their routines is comically disrupted.

Three generations of women, whose lived experience of migration is fundamentally different yet inextricably intertwined. What has been passed down from one to another is what connects them, but also precisely what sets them apart. With warm sincerity, this associative exploration of identity and memory interweaves family photographs, deep conversations, literary texts and playful performativity.

Following the death of a close uncle, siblings Guillermo, Lucia, and Nora are forced to interact with each other and their extended family during the customary nine days of a Novenario.

On the last night of a trip to her childhood home, a young woman is swallowed by the land.

Date palms imported and cultivated decades ago flourish in the Coachella Valley in Southern California. A cacophony of voices from across generations reflect on the shifting landscape of the region; some remember the first few acres that were planted, while others enjoy the luxuries of new golf courses. Feet in Water, Head on Fire is a sensorially vibrant 16mm experience that takes us on a journey of past, present, and future. Director Terra Long hand-processed the footage utilizing leftover dates and native plants intertwining the environment into the fabric of the film. Through complex and nuanced scenes, non-sync interviews blossom into a wonderfully gentle but memorable portrait of a community in flux.

Filmed on 16mm using in-camera editing techniques, "purgatory is the side of the road" is an imagining of the liminal space between being and non-being.