In 2018, Barbara Hammer (1939-2019), a well-known artist and experimental filmmaker with more than 80 films made in her long career as activist, feminist and pioneer of lesbian cinema, approached Deborah Stratman to create a new film from unpublished images shot by Hammer during a trip to Guatemala in 1975. Recorded during the civil war, the images show a rural Guatemala where leftist forces, backed by Maya indigenous and poor farmers, defy governmental authorities. Stratman – a relevant name in the experimental documentary tradition (and a usual name in Curtas Vila do Conde Festival, where she won the experimental competition in 2003, with “In Order Not To Be Here”, and in 2014 with “Hacked Circuit”) – accepted the challenge as an opportunity to make Hammer’s images visible and, at the same time, to reflect on the work of two crucial figures in the history of cinema, by adding an evocation, through sounds and texts, of the artist and filmmaker Maya Deren. The result is a poetic encounter of three different generations of filmmakers who, in their artistic practice, broke conventions and ventured into unknown territories.