Abstract

Colombia has been structured by war, and this situation has permeated the country’s art, with variations that go hand in hand with the transformations of violence. In this chapter, I delve into the work of filmmaker Nicolás Rincón-Gille. What I explore as remarkable in his films is how violence does not “monopolize everything else” but makes life count in the face of the brutal effects of devastation. What persists in these films is the capacity of those who have lived through and been traversed by destruction to reposition themselves in what remains and their ability to give an account of what happened to them by finding everyday resources to deal with it. Thus, these films can break away from the identifications that bind victims to a place of impotence by exploring their capacities, perceptions of the conflict, and experiences of mourning and creating, through this exploration, dissensual works of memory.