{"id":1694,"date":"2017-01-01T02:49:33","date_gmt":"2017-01-01T02:49:33","guid":{"rendered":"http:\/\/isidorebethel.com\/?p=1694"},"modified":"2026-02-14T17:00:18","modified_gmt":"2026-02-14T17:00:18","slug":"what-we-leave-behind-2022","status":"publish","type":"post","link":"https:\/\/isidorebethel.com\/es\/projects\/what-we-leave-behind-2022\/","title":{"rendered":"What We Leave Behind &#8211; 2022"},"content":{"rendered":"<p><\/p>\n<p style=\"text-align: justify;\">A la edad de 89 a\u00f1os, Juli\u00e1n toma un \u00faltimo viaje en autob\u00fas a El Paso, Texas, para visitar a sus hijas y sus nietos. Tras su regreso a una zona rural de M\u00e9xico, \u00e9l empieza a construir sigilosamente una casa en el lote bald\u00edo al lado de su casa. A lo largo de varios a\u00f1os, la directora Iliana Sosa filma el trabajo de su abuelo, tamizando apaciblemente los recuerdos t\u00e1citos de Juli\u00e1n que han sido invocados por el proyecto de construcci\u00f3n y que revelan tanto el pragmatismo cotidiano como la poes\u00eda de su vida.<\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/680317835?h=ecca158c93\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture\" allowfullscreen><\/iframe><\/p>\n<p style=\"text-align: justify;\">&#8211; editada, escrita y co-producida por Isidore Bethel&nbsp;\/ dirigida, escrita, fotografiada y producida por Iliana Sosa (EEUU, M\u00e9xico)&nbsp;\/ producida por Emma D. Miller<\/p>\n<p style=\"text-align: justify;\">&#8211; Borderchild Productions, <a href=\"https:\/\/www.marconamedia.com\/\">Marcona Media<\/a>, <a href=\"https:\/\/arraynow.com\/project\/what-we-leave-behind\/\">ARRAY Releasing<\/a> (US distribution), <a href=\"https:\/\/www.netflix.com\/gb\/title\/81613870\">Netflix<\/a> (US, Canada, UK, Australia, New Zealand)<\/p>\n<p style=\"text-align: justify;\">&#8211; SXSW, First Look (Museum of the Moving Image), Full Frame, Camden IFF, Morelia IFF, Guanajuato IFF, AFI Latin American FF, Thessaloniki DF, Tacoma FF, Thin Line Fest, Phoenix FF, RiverRun IFF, North by North IFF, Milwaukee FF, the DocYard, Los Angeles Latino IFF, Philadelphia Latino FF, Tallgrass FF, Cine Las Americas IFF (Hecho en Tejas centerpiece film), California Capital IDFF, CineFestival San Antonio, El Paso Plaza Classic FF, Viva Texas FF, Flatland FF, Femme Frontera Filmmaker Showcase, Loft Film Fest (Tucson, Arizona), PampaDocFest (Argentina)<\/p>\n<p style=\"text-align: justify;\">&#8211; <em>The New York Times<\/em> Critic\u2019s Pick, The Gotham Awards Best Documentary Nominee, SXSW Louis Black \u201cLone Star\u201d Award, SXSW Fandor New Voices Award, Cinema Tropical Awards Best US Latinx Film Nomination, Thin Line Fest Emerging Filmmaker Award, Tacoma FF Best Documentary Feature Special Mention, North by North Best Feature Award, Viva Texas Best Documentary Feature Award, Flatland FF Best Director and Best Feature Awards, The Gotham Film Week FilmFlow Award<\/p>\n<p style=\"text-align: justify;\">&#8211; 71 minutes<\/p>\n<p style=\"text-align: justify;\">&#8211; with support from the Ford Foundation\u2019s JustFilms, the Sundance Institute Documentary Program, Field of Vision, the IDA Sarowitz Project Completion Fund and ACAI Award, City of El Paso Museums and Cultural Affairs Department, the Austin Film Society, Catapult Film Fund, the True\/False &amp; Catapult Rough Cut Retreat, the Jacob Burns Film Center Creative Culture Residency, the Gotham Documentary Lab, the Logan Nonfiction Program, the University of Texas at Austin, and the Ji.hlava New Visions Forum<\/p>\n<p style=\"text-align: justify;\"><strong>PRENSA:<\/strong><br \/>\n&#8211; <a href=\"https:\/\/letraslibres.com\/cine-tv\/sxsw-2022-historias-de-la-frontera\/\"><em>Letras Libres<\/em><\/a>: \u201cUna emotiva cr\u00f3nica familiar que, inevitablemente, se transforma en un relato universal.\u201d<br \/>\n&#8211; <a href=\"https:\/\/www.palomitademaiz.net\/resenas-what-we-leave-behind-sxsw-2022\/\">Palomita de Ma\u00edz<\/a>: \u201cLa mirada de Sosa es naturalista y contemplativa, hilando una narrativa de lo que podemos suponer que fueron horas y horas de pietaje protagonizado por su abuelo. Ella captura la intimidad familiar, los pensamientos de un hombre que ha vivido m\u00e1s de lo que jam\u00e1s hubiera imaginado, la cercan\u00eda entre las personas que se han negado a dejar que la lejan\u00eda geogr\u00e1fica los mantenga alejados con gran tino, dejando hablar a sus personajes y apenas comunicando el contexto necesario.\u201d<br \/>\n&#8211; <a href=\"https:\/\/www.nytimes.com\/2022\/09\/29\/movies\/what-we-leave-behind-review.html\"><em>The New York Times<\/em><\/a>: \u201c<em>What We Leave Behind<\/em> insists upon power in stillness, and the poignancy in staying \u2014 and leaving.\u201d<br \/>\n&#8211; <a href=\"https:\/\/filmmakermagazine.com\/113598-iliana-sosa-what-we-leave-behind\/#.YiuMAhPMI8Z\"><em>Filmmaker<\/em><\/a>: \u201c<em>What We Leave Behind<\/em> is an astonishingly intimate labor of love.\u201d<br \/>\n&#8211; <a href=\"https:\/\/www.bostonglobe.com\/2022\/05\/05\/arts\/building-house-building-bridge\/\"><em>Boston Globe<\/em><\/a>: A \u201climpid, emotionally deep, and poetically resonant documentary.\u201d<br \/>\n&#8211; on the <a href=\"https:\/\/www.latimes.com\/entertainment-arts\/movies\/story\/2022-06-01\/los-angeles-latino-international-film-festival-preview\"><em>Los Angeles Times<\/em><\/a>\u2019 five-film highlights list for LALIFF: \u201cFrom intimate conversations and quiet moments of contemplation, Mexican American filmmaker Iliana Sosa renders a loving portrait of her elderly grandfather Juli\u00e1n.\u201d<br \/>\n&#8211; <a href=\"https:\/\/www.texasmonthly.com\/arts-entertainment\/what-we-leave-behind-sxsw-masterpiece\/\"><em>Texas Monthly<\/em><\/a>: \u201c<em>What We Leave Behind<\/em> was the surprise masterpiece of SXSW.\u201d<br \/>\n&#8211; <a href=\"https:\/\/www.hollywoodreporter.com\/movies\/movie-reviews\/what-we-leave-behind-review-1235225073\/\"><em>The Hollywood Reporter<\/em><\/a>: \u201cFirst-person filmmaking at its eloquent best.\u201d<br \/>\n&#8211; <a href=\"https:\/\/www.austinchronicle.com\/daily\/sxsw\/2022-03-12\/sxsw-film-review-what-we-leave-behind\/\"><em>The Austin Chronicle<\/em><\/a>: \u201cIliana Sosa offers an intimate portrait of a family separated by distance but united in love, and a moving exploration of the many metaphorical meanings of \u2018crossing over.\u2019 Simple scenes filmed with reverence and Sosa\u2019s brilliant eye for light and angles elevate daily routines to visual poetry.\u201d<br \/>\n&#8211; <a href=\"https:\/\/www.texasobserver.org\/what-we-leave-behind-is-a-beautifully-understated-migration-story\/\"><em>Texas Observer<\/em><\/a>: The film \u201cis arresting from the start&#8230;Moreno, the <em>abuelo<\/em>, is so compellingly self-contained and the domestic imagery of his life so striking that the film thrives on silence and simple themes&#8230;The colors in <em>What We Leave Behind<\/em> are a feast&#8230;The concluding scenes, almost shocking in their intimacy, are an emotional roar, played out nonetheless with the film\u2019s relentless subtlety.\u201d<br \/>\n&#8211; <a href=\"https:\/\/thedailytexan.com\/2022\/03\/14\/iliana-sosas-what-we-leave-behind-authentically-captures-grandfather-julian-moreno-steals-audiences-heart-at-sxsw\/\"><em>The Daily Texan<\/em><\/a>: \u201cSpinning ordinarily mundane moments into candid memories of Juli\u00e1n\u2019s last few years, Sosa\u2019s documentation of her grandfather leaves the audience emotional and in awe of the loving 89-year-old&#8230;With both funny and sincere moments, <em>What We Leave Behind<\/em> serves as a stunningly intimate remembrance of Juli\u00e1n. Impossible not to love, Juli\u00e1n\u2019s on-screen presence at the SXSW premiere was a heart-warming yet emotional experience for the audience.\u201d<br \/>\n&#8211; <em>Hammer to Nail<\/em> <a href=\"https:\/\/www.hammertonail.com\/editorial\/2022-sxsw-top-picks\/\">recommendation<\/a> and <a href=\"https:\/\/www.hammertonail.com\/reviews\/what-we-leave-behind\/\">review<\/a>: \u201cA beautifully photographed tribute to the director\u2019s nonagenarian grandfather, Iliana Sosa\u2019s <em>What We Leave Behind<\/em> showcases a life well lived, or at least fully so&#8230;Though this documentary may be but 70 minutes long, it manages to feel comprehensive in its portrait of a man determined to leave this world on his own terms&#8230;It\u2019s a lovely paean to a human force of nature.\u201d<br \/>\n&#8211; KENS5 <a href=\"https:\/\/www.kens5.com\/article\/entertainment\/movies\/sxsw-south-by-southwest-film-festival-movies-texas-austin-apollo-linklater-a24-bullock-pace-raiff\/273-603ccc31-2931-4c3f-9ccf-7c5478451153\">recommendation<\/a> and <a href=\"https:\/\/www.kens5.com\/article\/entertainment\/movies\/sxsw-2022-south-by-southwest-austin-film-festival-documentary-what-we-leave-behind-iliana-sosa\/273-9415c663-5071-4473-9b0e-5b704030c0cc\">review<\/a>: \u201c&#8230;a deeply melancholic feature-length documentary debut that locates its soul by not pressuring itself to look for it. It\u2019s an ode to a way of living and a portrait of the latter days of a life fully lived, gracefully edited together with a patience mirroring the small rural community where it was shot.\u201d<br \/>\n&#8211; <a href=\"https:\/\/cinapse.co\/sxsw-2022-what-we-leave-behind-cf36f0e9c789?gi=56d331e50fbe\">Cinapse<\/a>: \u201cThe power of Sosa\u2019s documentary dwells in the pauses between sentences, the breaks in the stories being told.\u201d<br \/>\n&#8211; <a href=\"https:\/\/www.productionhub.com\/blog\/post\/editor-isidore-bethel-describes-working-on-sxsw-documentary-feature-what-we-leave-behind\">Production Hub<\/a> interview: \u201cEditor Isidore Bethel Describes Working on SXSW Documentary Feature, <em>What We Leave Behind<\/em>\u201d<br \/>\n&#8211; interview with Iliana Sosa, Isidore Bethel, and Emma D. Miller by <a href=\"https:\/\/deadline.com\/2022\/03\/what-we-leave-behind-sxsw-documentary-director-iliana-sosa-producers-emma-miller-isidore-bethel-interview-news-1234986389\/\"><em>Deadline<\/em><\/a>\u2019s Matthew Carey: \u201cSosa credits Bethel for helping her find the film through their collaboration.\u201d<br \/>\n&#8211; interview with Iliana Sosa by <a href=\"https:\/\/www.eyeforfilm.co.uk\/feature\/2022-04-07-interview-with-iliana-sosa-about-what-we-leave-behind-feature-story-by-jennie-kermode\">Eye for Film<\/a>: \u201cA moving personal story and a portrait of a world rarely seen on film, <em>What We Leave Behind<\/em> was one of the unexpected hits of this year\u2019s South by Southwest.\u201d<br \/>\n&#8211; interview with Iliana Sosa by the <a href=\"https:\/\/awfj.org\/blog\/2022\/03\/22\/iliana-sosa-on-what-we-leave-behind-sxsw-2022-leslie-combemale-interviews\/\">Alliance of Women Film Journalists<\/a>: Isidore \u201cloved everything I\u2019d always loved about my grandfather \u2014 his offhanded comedic timing, his evocative gestures, his wisdom grounded in labor and land. Isidore was also able to situate those feelings in specific moments from the footage. This inspired tremendous confidence in me.\u201d<br \/>\n&#8211; interview with Iliana Sosa by <a href=\"https:\/\/moveablefest.com\/iliana-sosa-what-we-leave-behind\/\"><em>The Moveable Fest<\/em><\/a>: \u201cIsidore really took the material and just ran with it&#8230;It was such a collaborative process and we would have extensive conversations about what you see in the film. The editing is really the key.\u201d<br \/>\n&#8211; on <a href= \"http:\/\/www.unseenfilms.net\/2022\/03\/four-at-first-look-2022-new-old-play.html\">Unseen Films<\/a>\u2019 First Look recommendation list and <a href= \"https:\/\/www.hammertonail.com\/editorial\/2022-sxsw-top-picks\/\"><em>Hammer to Nail<\/em><\/a>\u2019s, <a href=\"https:\/\/austin360.com\/story\/entertainment\/movies-tv\/2022\/03\/02\/sxsw-film-festival-movies-you-need-see-x-lost-city\/6912856001\/\">Austin 360<\/a>\u2019s, <a href= \"https:\/\/www.orcasound.com\/2022\/02\/03\/sxsw-2022-films-not-to-miss\/\">Orca Sound<\/a>\u2019s, Jim Kolmar\u2019s <a href=\"https:\/\/realscreen.com\/2022\/03\/10\/sxsw-22-janet-pierson-jim-kolmar-talk-documentary-lineup\/\"><em>Realscreen<\/em><\/a>, <a href=\"https:\/\/www.thecherrypicks.com\/stories\/9-docs-coming-out-of-sxsw-2022\">The Cherry Picks<\/a>\u2019, <a href=\"https:\/\/www.austinvida.com\/articles\/cultura\/sxswfilms2022\">Austin Vida<\/a>\u2019s, and <a href=\"https:\/\/www.kens5.com\/article\/entertainment\/movies\/sxsw-south-by-southwest-film-festival-movies-texas-austin-apollo-linklater-a24-bullock-pace-raiff\/273-603ccc31-2931-4c3f-9ccf-7c5478451153\">KENS5<\/a>\u2019s must-see lists for SXSW<br \/>\n&#8211; SXSW Lone Star Award Jury Statement: \u201cIliana Sosa\u2019s exquisite documentary <em>What We Leave Behind<\/em> is a love letter to her Mexican grandfather, whose final decline she chronicles with artful grace. It is also a moving look at a family disconnected by both border and dreams, and how their patriarch, too old now for his monthly 20-hour bus rides from Durango into Texas, worries who will hold the center once he\u2019s gone. Eighty-nine-year-old Juli\u00e1n has the face and gravitas of an old-time movie star. Sosa has made a profound, gorgeous movie worthy of her precious subject.\u201d<br \/>\n&#8211; SXSW New Voices Award Jury Statement: \u201cIliana beautifully captures the lives and vulnerability of her family, particularly Juli\u00e1n&#8217;s humanity, commitment to family and sense of humor in the face of mortality. <em>What We Leave Behind<\/em> embodies the type of captivating storytelling we work to elevate at Fandor. We could not be more excited to present Iliana with the Fandor New Voices Award.\u201d<\/p>\n<p><\/p>","protected":false},"excerpt":{"rendered":"<p>A la edad de 89 a\u00f1os, Juli\u00e1n toma un \u00faltimo viaje en autob\u00fas a El Paso, Texas, para visitar a sus hijas y sus nietos. Tras su regreso a una zona rural de M\u00e9xico, \u00e9l empieza a construir sigilosamente una casa en el lote bald\u00edo al lado de su casa. A lo largo de varios [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":2048,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,1,5],"tags":[6],"class_list":["post-1694","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-editor","category-projects","category-producer","tag-feature"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/posts\/1694","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/comments?post=1694"}],"version-history":[{"count":163,"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/posts\/1694\/revisions"}],"predecessor-version":[{"id":3643,"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/posts\/1694\/revisions\/3643"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/media\/2048"}],"wp:attachment":[{"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/media?parent=1694"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/categories?post=1694"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/isidorebethel.com\/es\/wp-json\/wp\/v2\/tags?post=1694"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}