"When were we live define us"

For more than 50 years, cubans were denied the possibility of selling their houses. Today Gretel, a real estate seller, travels through the spaces of families who yearn for a change, with it the inventory of places whose main value is memory.
"What we are, this little sea, these crustaceans, these islands of phosphorus that we have slept on. We are also these impassive stones and that child who treasures a shipwreck in memory. from here we are and this is wha we are"   Héctor Roja Hérazo
Mirtha showig gretel the house se want to sell
"During all this time, I have thought of houses as a topic, a vehicle that connects much more global elements, like collective memory against the official, or the value that is given to objects, just like the sense and location of a home.   I know that everything is getting closer to becoming just a memory of a certain time in which utopies occupied tables. And it is just that in the rest of Latin America the right to a home, a city, fades away in frenetic speculation. I don’t know how this is going to end up or which the next step is. This movie is the register of a moment in which the boiling situation of a continent crosses paths, one that is sold as a house full of memories, whose  owners are unaware of the value of their property."  Emanuel  G. - Director
"How do we relate to objects, places and scenarios that make a fundamental part of our life? We consider that it has become more necessary to bring to crisis the economic relation that has been imposed in our territories; and that the historical moment that Cuba is undergoing is  a milestone that echoes in all Latin America, like the revolution itself. That is why we consider that the sale of houses can be a metaphor for what has been happening in the rest of Latin America for such a long time, something that has devastating projections as time goes by.  This is how we take on this project, like a nostalgic and critical bet against what we have, what we discard and what we have lost, a place where the main engine is the tool itself, the clarity of its power, and therefore the commitment behind it. Because in a situation like the one we are facing in the actual moment as humanity, that we call “home”,  “refugee”, “corner”  has become much more necessary than ever."   Mariale M. - Producer
Carlos Garaicoa´s work one of our conceptual reference 
We want to create a proposal that dialogues between the harmony of the spaces, the conflicts of the characters and the complexity of the historical moment, for this we have thought about the concept of order that Pedro Costa offers: “Cinema means trying to recreate something, put order: organize life, movements of people and things in space. It is about reaching an order that is not natural but that may seem to be close to what we see when we have our eyes open. That order corresponds to another order behind the camera, which must be disciplined, supportive, almost fraternal ”(2011, p. 89)
"La casa forma parte de todo un devenir. Es vida, "vida no orgánica de las cosas". Bajo todas las modalidades posibles, la unión de los planos con sus miles de orientaciones es lo que define la casa-sensación. La propia casa (o lo equivalente) es la unión finita de los planos coloreados"  Deleuze, pág. 182.

Country:  Colombia  -  Brasil 
Director: Emanuel Giraldo Betancur
100 MIN
Format: 16:9 2K A 6K, COLOR
Etnographical and observational documentary

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