Selena Doertiz

Due to overpopulation, the internet is collapsing under the weight of IP addresses belonging to deceased people. As a result, a system is introduced to purge and delete their accounts based on official death records. However, one account linked to a registered death shows recent activity, prompting the protagonist to reach out to its owner.

Discarded shots with an invented name. Who decides what gets recorded, who takes the claim? Who decides that I must erase it, erase the flame? Shots screaming, killing just to be heard, twisting silence into something blurred. But voices are silenced, visions and recordings. Collected. Rolling only what’s polished, refined, feeding the frame with the perfectly lined. But I want to prove it, I want it shown. What a second frame can carry alone. A distorted drawing. A visual poem the mind has overthrown, canceled by Saturdays and forgotten places that hold their own. That do not forget. That keep remembering. Uncomfortable. It’s uncomfortable to hear what won’t be sought, to face the echo of an unwanted thought. That’s Basurería. Shots and memories forgotten with an invented name. Uncomfortable, strange. Give the frame a meaning, give shape to the frame. I’ve already explained it to you. And you, especially you, should know I haven’t forgotten.

Do not seek an explanation, a story, a solution. Life has none. Why should this short film have one? A visual poem. Images. Making coffee. Everyday. Not meticulous. Improvised. Filmed. Metaphor of a moment. Metaphor of yesterday.

A short film directed by Selena María Ortiz. Featuring the music of Sufjan Stevens, ‘Fourth of July’.

A tense nighttime conversation on the edge of the neighborhood. Suspicions grow, loyalties are tested, and paranoia takes over the scene. How far does the truth go, and where do the lies begin?