Esquirlas

It seemed like a bombing on the Gaza Strip, a scene of terror that we imagine as being characteristic of faraway countries. Yet this was an incident took place in an Argentine city in the province of Córdoba in 1995: an explosion in a military arms factory that had devastating consequences. There was debris and dust, there were wounded people and corpses, and, with the passing of time, there was the perpetuation of trauma and illness.
No one in the small city of Río Tercero has ever forgotten that fateful day, but director Natalia Garayalde finds an intimate perspective on this collective memory by focusing upon a single painful family history, thus intensifying its universal emotional force and adding political foresight.
All memory is invariably a labor of montage. And it is exactly this detailed work on these scattered memories that comes into play as all the material filmed by the members of this serious amateur filmmaking family is reorganized, whether from before or after this episode, acquiring decades later an additional layer of truth and bringing the force of the past into the present in order to understand how one can film a feeling. (Roger Koza)

In the presence of Natalia Garayalde and Eva Cáceres (producer).

Natalia Garayalde: ESQUIRLAS (2020)