Home video footage shows a group of people enjoying themselves at costumed parties celebrating the end of the previous millennium. In the narration, we hear Salomé recognize her Colombian family members among the revelers. She wonders aloud whether these decades-old video recordings could reveal the state of a country.
Over scenes that are variously repeated, edited, sped up, or slowed down, the woman muses on various hypotheses, all converging on the same point: that her mother’s sadness and sense of impending doom may not have come solely from within herself. Around the turn of the millennium, some people believed the end of the world was near. Like other Latin American countries, Colombia has long been burdened by violence, exploitation, and the darker side of capitalism. Is her mother perhaps a symbol of something bigger?
Filmmakers Bibiana Rojas and Juan David Cárdenas apply playful, exploratory editing, using repetition and slight variations, including select use of artificial intelligence, to alter the archival material—and, consequently, the past—in order to project possible futures.
Stills
