Synopsis
“The palm trees on the reverse are a delusion; so is the pink sand.” This line, taken from a poem by Margaret Atwood, lights the path traced in Postcard. As the years go by, landscapes transform, take on new meanings, and hold onto joys that will never be regained. The sea and the beach, once stages of happy summers, romances, and encounters, will turn into concentration camps or centers of detention and torture. This occurs across different times and places. In this piece, I embark on a journey through some of my works that explore the relationship between testimony, spaces, and time, engaging in dialogue with the beautiful film directed by Alejandro Segovia in 1972.
Filmmaker
Carolina Astudillo
Graduated in Film Studies from the Catholic University of Chile and master’s degree in Creative Documentary from the UAB. She has developed her work from historical research, documentary creation and writing, with women and historical memory as a point of reference. She has won two Silver Biznagas in Malaga, with El gran vuelo and with Ainhoa: yo no soy esa. As a teacher, she teaches classes at several Catalan and Latin American universities and film schools. Currently, she has various films in development.
Filmography: Postal (O, desde la distancia eres un espejismo) (short film, 2023, D'A 2024), The Crowd Will Always Return (short film, 2023, D'A 2023), Canción a una dama en la sombra (2022, D'A 2022), Esa fugaz esencia que dejaron los sucesos (short film, 2022, D'A 2022), Naturaleza muerta (short film, 2020, D'A 2020), Un paseo por New York Harbor (short film, 2019, D'A 2019), Ainhoa: yo no soy esa (2018, D’A 2018), El gran vuelo (2014), El deseo de la civilización (short film, 2014), Lo indecible (short film, 2012), De monstruos y faldas (short film, 2008)
Poster
