By Mónica Delgado

It seems like filmmaker and visual artist Malena Szlam enters new territory in Altiplano. Now, the deserts and steppes of Atacama, her object of observation, look almost naked, even clearly tactile, graspable, barely transformed, while in her previous work, the sense of abstraction of those subjects of contemplation, (like the moon in Luna Almanac, his 2013 short film, or the fragments of persons and cities in Chronogram of Inexistent Time of 2008) produced a study on light, its matter and absences. Instead, in Altiplano, the day light encounters other way of being grasped, through the textures and a component which Szlam handles to perfection: the superposition and the flicker.