The thaw of the so-called eternal snow of Páramo, a neotropical alpine ecosystem in the high Andes, exposes a layer of meaning about the origins and survival of the landscape.
Celluloid film is similar to plants, but also to lagoons. The process of printing an image on light-sensitive material is reminiscent of the photosynthesis process that plants undergo when they capture sunlight. In turn, the surface of a lagoon acts as a mirror, reflecting, or 'projecting', images.
There is a remarkable link between cinema and nature, specifically with water. A film like Borde de nieve, which uses both analogue film and digital images, is made possible by a generous stream of consciousness, like a rippling river of ideas. Through disjointed fragments, the film moves us through landscapes and generates an experience like a pilgrimage.
The melting mountain peaks serve as a metaphor; the vanishing ice releases new manifestations of the landscape. The ecosystem underwent various forms of violence; layer after layer of melting exposes human passage and destruction. Social crises thus become visible in the biosphere: rivers and mountains as witnesses of a struggle. The mountain ranges lead us to the past or the future, both as access or escape routes. The film’s central mountain thus provides a geological, spatial, temporal and symbiotic encounter. Meanwhile, I walk on.
Valentina Giraldo is a film critic and a Berlinale Talents alumna. She was co-director of the Equinoxio Film Festival and has programmed for different exhibitions and events. Valentina writes for several magazines in Mexico, Argentina and Colombia. Giraldo is a member of the International Federation of Film Critics FIPRESCI and has been a jury member at different film festivals. She focuses her work on visual and gender studies. She is a weaver, feminist and tarot reader.
A journey through the consciousness of someone whose country is under threat from a fascist government.