Paula Gaitán’s short film, Memory’s Memory from 2013, begins with a sequence of photographs to the rhythm of Viktor Tsoi's Russian rock. The next thing we see is a shot of the director filming herself in the mirror years ago with a Super 8. This is the starting point for what it will draft as a double exercise in recollection, in which Gaitán herself relates to the images of the past and, at the same time, shares them with her family in the present. The filmmaker explores her family history through homemade videos. Gaitán’s family’s history is marked by the texture of the environment itself and where music (by Nick Drake, Sonic Youth, or Sufjan Stevens) has a key role and alternating dialogues of those who see and comment on the images at that very moment. As a meta-cinematographic experiment, Gaitán films the screening of these videos from her younger years, thus capturing not only the images themselves but also the reception of these images by their closest viewers. Meanwhile, the distant audience (us) observes through a peephole her most intimate reality of the family. Chaining glances intertwine through memory. There is also a reflection on the act of filming to capture the essence of a time spiralling (that of memory) and that manifests itself in the bodies, faces, and voices of those who are part of who we have been and who we are nowadays. DANIELA URZOLA