Hollow

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Note of intent

Hondonada was born from walking in the city and walking among paths in the sierras. I discovered their tools to build narratives such as wandering, the uncertainty of new directions, the modification of the landscape and the passage of time. I am fascinated by going into the city and the natural space, used as a narrative and cinematographic textual plot that allows encounters with another, that builds a capricious cartography full of occasional historical and geographical encounters.

Synopsis

César (68) is a night watchman in a factory. One afternoon he receives a letter from his sister. She has sold the family plot of land in the mountains where his wife’s ashes are buried. He decides to leave his job and travel to the countryside to retrieve them. On his way he loses his money. Determined to get there, he continues his journey on foot through the mountain trails he knew as a child. Among pine forests he discovers the house of Antonia (69). He spends a few days there working where he discovers photographs of the construction of the dam in which his family participated. On his way he sleeps in the forest and dreams of old illustrations of plants he collected as a child. He continues on and when he reaches his land he sees the tree that houses the ashes engulfed in flames.

Visual concept

Hondonada is a film divided into two parts. One part takes place in the city and the other in nature. Each has a content anchored in specific forms. The city is closer to reality, the mountains go deeper into the realm of the poetic. Hondonada seeks to portray characters within their working world and how it has marked their lives. The characters are beings inserted in a social world in which they resist more than they enjoy, but in nature they find their reparation.