“These films centre on issues that concern me: Movement and migration, tensions between generations, indigenous identity, rural and urban landscapes. In many ways, these matters are central to Bolivia’s contemporary experience. While making the films, I was less interested in storytelling and more focused on evoking a certain place or moment while making use of observational perspectives and montage.”
Bocamina
Potosí, a colonial mining town in Bolivia. At the adit we see faces of the workers leaving the mine. At school, children look at stills from the mine. Images of other times?
Compañía
A trip, leaving the city.
In a village, between the mountains, music is played for the dead.
Memories and dreams appear, journeys back and forth.
Urbano is baptised.
El corral y el viento
In other times, the first men emerged out of the waters of Lake Titicaca. Years later, my grandfather was locked up in a donkey corral as punishment for attempting to learn how to read and write. Now my uncle lives alone because all of his relatives moved to the city. At school, children learn Spanish under a painting of Pythagoras. This film is a portrait of Santiago de Okola the Aymara village of my father.
*1985 in Hamburg, lebt in La Paz
Miguel Hilari studierte Film in La Paz, Santiago de Chile und Barcelona. Seine Dokumentarfilme (El corral y el viento, 2014; Compañía, 2019; Bocamina, 2019) beschäftigen sich mit den Themen der Arbeit, der Kolonialgeschichte, der Migration und der indigenen Kultur. Oft werden bestehende Bilder neu inszeniert und so infrage gestellt. Seine Filme wurden auf internationalen Festivals gezeigt und ausgezeichnet. Hilari arbeitet auch als Produzent und Cutter und begann im letzten Jahr Proyecto Torrente zu leiten, ein Projekt, dass Bild- und Sound in Schulen auf dem Land unterrichtet.
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