In a nervous and agitated world such as ours, claiming the need to stop and observe with empathy what surrounds us and the changes that exist is a revolutionary gesture. In the films of Lucrecia Martel and Carla Simón, this attention to detail, this careful look at things, has the capacity to upset our gaze and become both a tool for awakening and a meeting place.

A gesture of love for the world we share, of commitment to the present and its transformation in the sense in which Hannah Arendt expresses it. In her latest films, Terminal Norte (2021), of Martel, about music as a refuge and unexpected encounters, and Alcarràs (2022), of Simón, about the disappearance of the family farming model, the filmmakers show the complicities, not without conflict, through which any community of resistance is built. How can we avoid the narratives that place us outside the present? What narratives facilitate the encounter and avoid the flight forward?

Lucrecia Martel is a director and screenwriter, and thanks to titles such as La Ciénaga (2001) and La niña santa (2004) she has established herself as one of the great Latin American filmmakers. On the other hand, Carla Simón, also a director and screenwriter, has been one of the latest revelations in European cinema, now consolidated thanks to the acclaimed film Alcarràs (2022).