Canto de la Tierra

This is a personal and family film that documents the early years of the author's daughter, Aiñari Indacochea von Mollendorff. Filming began in 1972, when his wife, the choreographer Yvonne von Mollendorff, was still pregnant, and was completed in 1978 when his daughter was four years old. Aiñari's early life is recorded on video and superimposed to create a dialogue between different time periods. The expressions of wonder, emotion, and joy on the four-year-old girl's face, reflecting on her own growth, are juxtaposed with images of her as a younger child with her mother.

This work, created in collaboration with Manongo Mujica, seeks to recapture the sound of Paracas, not only as a landscape and atmosphere, but also by rescuing the music of its inhabitants. The use of the gong, an ancient Eastern percussion instrument, blends with the sounds of the waves on the Paracas shore, generating a ritualistic act of connection with the forces of nature—seen as deities by the ancient Peruvians.

Rafael Hastings superimposes several versions of the face of his friend, the musician and percussionist Manongo Mujica, showing the multiplicity of images that can derive from the recording of a movement from the same point towards the four cardinal points (East to West and North to South, respectively) and the musician's face becomes a kind of "fifth cardinal point".

Consisted of a stop-motion trek through the different spaces and objects of Rafael Hastings' house in Lima, prior to it being devastated in the October 3rd earthquake of 1974.

Produced by “ediciones tercermundo” of the Center for Art and Communication of Buenos Aires, this film is a “behind the scenes” look at situations that go unnoticed during a modeling session (in this case, the session of the Argentine photographer Juan Carlos Franceschini).