Camila Moreiras’ films often bend forms, breezily shapeshifting from the stringently documentary to the purely experiential. Over the course of her burgeoning career, the hispanic artist has taken to finding ways of relating with and representing landscapes and bodies. Moreiras’ SINE DIE (2020) uses a quote by Jacques Derrida to frame its investigation around the lingering effects buried plutonium is having on the citizens of Palomares, Spain. SINE DIE, much like EL AQUÍ — which the filmmaker wishes to refashion based on conversations with audiences — finds punctures in the everyday where fiction and reality fold into a series of dazzling, permuting visuals packed with hope and pain.