“Todo” (Everything) gathers the impressions of the filmmaker in her new surroundings, where she watches, classifies, and re-organizes everything that catches her eye. From a place of curiosity and amazement, she organizes an inventory of objects, characters, and situations. A tireless flow of images of the popular, the eccentric, the traditional, the new, the beautiful, and the ugly of the Matta Sur neighborhood of Santiago, Chile. An exercise of reflection on the destiny of images, their accumulation, classification, and order, modes of structuring the material, and the filmmaker’s gaze.
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