Forclusion, a phenomenon studied by Jacques Lacan, described as a mechanism by which the rejection of a fundamental signifier of reality occurs, which is expelled from the symbolic universe of the subject and the unconscious itself, with the only possibility of a return in an hallucinatory form.
In different ways this phenomenon studied in psychoanalysis could be used to understand how colonialism works with it’s logic of domination. Following the logic proposed by Jaques Lacan on the phenomenon of a foreclosed reality, a spectral medium such as cinema, inhabited by visions, understood as a catalyst state, a practice that embodies a form of possession that Jean Rouch described as cine-trance, is the capital that the film re-incarnates, making possible the dialogue between absent dimensions, between landscapes and spectres, between bodies and shadows.
The film functions in the ambiguous territory between documentary and fiction to re-examine echoes, spectra and other forms of consciousness that comprise both the past and the present of a desert and tropical territory like the Peruvian coast, a space composed of dimensions and times that overlap and cross trough each other. This scenario where reality and fiction are blurred, is the common thread of a film that explores hybrid territories in a reality without a fixed center, imagining impossible relationships and associations, that resists a present violently silent and less and less critical.