"Kinra," the new film by Marco Panatonic, stands out at the PUCP Lima Festival.

"Kinra," the latest film by Peruvian director Marco Panatonic, has resonated deeply at the Lima PUCP Festival, offering a cinematic experience rooted in the tradition of contemplation and introspection, evoking the work of great masters like Béla Tarr and Aleksandr Sokurov. The film presents a sober and moving narrative about the life of Atoqcha, a young man living with his mother in a rural setting, cultivating potatoes and facing the imminent death of his parent. This context, while seemingly simple on the surface, becomes a powerful vehicle to explore complex themes such as identity, loss, and the struggle for existence. The narrative of "Kinra" is constructed through the daily routines of its characters. Atoqcha and his mother immerse themselves in a world where trivial conversations contrast with the heavy shadow of death looming, particularly when the mother perceives a distant howl as an omen. This approach, distancing itself from the typical dramatics of contemporary cinema, allows the viewer to engage with the process of mourning in a more visceral, almost tangible way. The film does not seek to manipulate emotions; instead, it opts for a style that invites reflection and contemplation of suffering and loss. Panatonic's direction is distinguished by its austerity and rejection of visual preciosity. Unlike other works that glorify the beauty of the Andean landscape, "Kinra" presents the rural environment with a raw gaze, challenging romantic notions about life in the countryside. In this sense, the film raises questions about development and the differences between rural and urban areas, especially in a region like Cusco, where contrasts are evident. The transition between the worlds of the countryside and the city is not presented as a journey of improvement but as an exploration of the inherent precariousness of both. As the plot progresses, Atoqcha becomes a symbol of the search for identity in a context that has left him in a state of anonymity. His yearning to obtain a birth certificate becomes a significant act; it represents his struggle to exist in a world that has relegated him to invisibility. This aspect of the film invites the audience to reflect on the importance of names and personal stories, suggesting that identity is, in many cases, a construct that transcends mere legal recognition. The cinematography of "Kinra" is another of its great virtues. The camera becomes an almost voyeuristic observer, capturing intimate and reflective moments of the characters. Often, dialogues are heard but not seen, adding a layer of mystery and allowing the viewer to focus on emotions rather than words. This narrative approach, which privileges silence and observation, is a deliberate choice that underscores Atoqcha's loneliness and isolation in his quest to find his place in the world. The film's pace may be considered slow by some, but it is precisely this cadence that enhances the emotional impact of the story. Through prolonged and contemplative scenes, Panatonic immerses the viewer in the mental state of his protagonist, inviting them to experience the anguish and confusion that accompany the search for meaning amidst loss. This technique, which might alienate some from conventional cinema, is a testament to the power of art to explore the depths of human experience. In a time when immediacy and information overload are the norm, "Kinra" stands out as a valuable exception. The film does not seek quick answers or easy resolutions; instead, it offers a space for the viewer to reflect on the complexities of life, death, and everything in between. Thus, "Kinra" serves as a reminder that sometimes, true connection with a work of art comes from patience and the willingness to accept silence and uncertainty. The reception at the Lima PUCP Festival has been positive, with numerous voices praising Panatonic's courage in addressing difficult themes with authentic sensitivity. Marco Panatonic, hailing from Chumbivilcas, has managed to place a story at the center of the narrative that not only represents his community but also resonates with the universal human experience. His cinematic vision, free from clichés, promises to open new avenues of exploration for Peruvian and Latin American cinema. In conclusion, "Kinra" stands as a work that challenges the conventions of contemporary cinema. Through its contemplative approach, exploration of identity, and sincere representation of rural life, Marco Panatonic invites us to confront our own fears and losses, reminding us that, ultimately, we all share the same journey in the search for meaning and connection in an often desolate world.