A few decades since film ceased to be the main material support of cinema, a director returns to it in order to capture the iridescences of a landscape steeped in beauty and poison. Because – isn’t it so? – how else can one talk about illness other than from within the very organic matter of film? How else can one dig into their own body devoured by suffering, as well as into the plutonium-poisoned soil of Palomares? Camila Moreiras takes us to that place where skin blends into the dry soil, where lungs burn in toxic smoke, where we’re forced to contemplate our reflection in the contaminated water. Her movie is a relentless foray into one’s own secret nooks and crannies, a simultaneously lyrical and lucid mapping of the routes beneath the skin and way beyond its surface. The ultimate proof that beauty transcends both the body and the image – plunging right into the midst of pain. (Andreea Chiper)