Esplendor de los días venideros

Three years after Un continente incendiándose, Miguel Zeballos continues his trilogy about emptiness, death and memory by seeking new frictions on the same setting—Patagonia's high mountain range. While rigorous wide shots show us the drovers as they take the livestock from one edge of the image to the other, the beasts' distant bleating is interrupted by an intrusive female voice that declaims the auteur's existential reflections. At another point in the film, another intruder, the director, becomes part of the scene as he talks to the drovers about their own photographic representation. A blend between essay, documentary and fiction, Splendor of the Days to Come assumes its place as an odd body and doesn't hesitate to explore the fractures of its own cinematic identity.