I often ask myself, how does each of us weave our own responsibilities into the pattern of history? How can I tell stories about human rights and the quest for justice yet engage people who are uninterested or apathetic? And the answer has always brought me back to this idea of the persistence of vision. Just as in cinema, believing that we will create a new art, and with it the possibility of transformation comes from this concept of 24 frames per second that from static images (things the way they are) comes movement (change).
Profound communication only happens when there is persistence — staying committed to people and places where we once made films. In my case, 500 YEARS is the third film in the Guatemalan trilogy, which began in 1982 with When the Mountains Tremble and continued in 2011 with Granito: How to Nail a Dictator. 500 YEARS (2017) takes up the story where Granito left off.