All because the Blonde's Damned Son

In the Dominican Republic, what are known as shootouts — a legal construct used to justify the killing of young people in vulnerable situations — are an everyday reality. A reality that doesn't make headlines, that gets normalized, forgotten, and sometimes even condoned. It's not an isolated case. It's a structure. And it happens throughout Latin America.

We wanted to tell a story about that, but without making a literal indictment. We were interested in tone: the rhythm of a body that doesn't know it's about to die, the texture of an ordinary afternoon that suddenly breaks apart. It was the first project in which we consciously experimented with narrative time and with the way a true story can become, in the process, something larger than its circumstances.