The Yellow Line

Enter through that gap between frame and frame, between image and sound, direct to the nerve. Leave the eyepiece behind to immerse yourself in the acoustic.

In one of the most remote places in the Peruvian Amazon, an Ashéninka boy must overcome his fears and catch a giant catfish using only a hook to start his journey as an adult.

Inspired by the poetic interventions made by Nicanor Parra, Enrique Lihn and Alejandro Jodorowsky in 1952, Enrique Lihn and Alejandro Jodorowsky in 1952, Quebrantahuesos is a collage between a collage between Chilean films from the militant agit-prop imaginary and the filmic record of the walls after the October revolt of 2019. of 2019. The result is a plastic encounter between the political slogans of the past and the present. political slogans of the past and the present.

A group of musicians seem isolated from the world playing beautiful pieces. But in the darkness of the night, and from their minds, there are melancholies on earth, loves and families that they left behind. Their silences, their letters, these elements shape the poetic intention of this documentary.

The voices and rhythms of the Chilean agrarian revolution stir the earth, stirring up sediment and excavating the geomorphological layers of history. A film made from the expropriation of industrial film landscapes in 35mm, manually reduced to 8mm, to raw material, utopian abstraction.

From a point of view-listening that is both animal and elemental, between the air, the ocean and the sand, relationships emerge between humans, birds and marine life.

“That I cut reeds defeated in the fight for talent; to the glaucous gold of the distant vegetables consecrating its vineyard to the fountains: An animal whiteness ripples in the siesta: and that, to the slow prelude of the celebration, swans flight, no! of naiads, dodge or dive ... "

The Chilean artist and filmmaker Martín Baus assembles a political object that can be found below and to the left, in the same place where Latin America is located (if we place Europe in the centre of the map). Guerrilla radio broadcasts, voices from Godard’s first film or photographs of the Ecuadorian tropical forest compose his resistant found footage, a cocktail of old sounds and slogans that reverberates in contemporary times.