Ron Havilio

In 1970, after their wedding in Buenos Aires, Ron and Jacqueline set off for the Andes, with backpacks and still cameras. While crossing Bolivia, on their way to Cuzco, they discovered the city of Potosi. 29 years later, they return to the same places, this time with their three daughters and a Super 16 camera. A road movie, which is both a depiction in real time of Potosi and the Andes and a journey of introspection for the filmmaker and his family. Potosi, at an altitude of 4,100 metres, was once one of the largest and richest cities in the world. But for the millions of indigenous people who were forced to work in the depths of the mountain, Potosi was the gateway to Hell. After its silver mines were exhausted, Potosi was abandoned, poor and forgotten. As in his previous film, Fragments - Jerusalem, Ron Havilio also uses personal material to draw a portrait of an Israeli family on the road, the generation gap, and a meditation on the passage of time.

In 1970, after their wedding in Buenos Aires, Ron and Jacqueline set off for the Andes, with backpacks and still cameras. While crossing Bolivia, on their way to Cuzco, they discovered the city of Potosi. 29 years later, they return to the same places, this time with their three daughters and a Super 16 camera. A road movie, which is both a depiction in real time of Potosi and the Andes and a journey of introspection for the filmmaker and his family. Potosi, at an altitude of 4,100 metres, was once one of the largest and richest cities in the world. But for the millions of indigenous people who were forced to work in the depths of the mountain, Potosi was the gateway to Hell. After its silver mines were exhausted, Potosi was abandoned, poor and forgotten. As in his previous film, Fragments - Jerusalem, Ron Havilio also uses personal material to draw a portrait of an Israeli family on the road, the generation gap, and a meditation on the passage of time.

In 1970, after their wedding in Buenos Aires, Ron and Jacqueline set off for the Andes, with backpacks and still cameras. While crossing Bolivia, on their way to Cuzco, they discovered the city of Potosi. 29 years later, they return to the same places, this time with their three daughters and a Super 16 camera. A road movie, which is both a depiction in real time of Potosi and the Andes and a journey of introspection for the filmmaker and his family. Potosi, at an altitude of 4,100 metres, was once one of the largest and richest cities in the world. But for the millions of indigenous people who were forced to work in the depths of the mountain, Potosi was the gateway to Hell. After its silver mines were exhausted, Potosi was abandoned, poor and forgotten. As in his previous film, Fragments - Jerusalem, Ron Havilio also uses personal material to draw a portrait of an Israeli family on the road, the generation gap, and a meditation on the passage of time.

In 1970, after their wedding in Buenos Aires, Ron and Jacqueline set off for the Andes, with backpacks and still cameras. While crossing Bolivia, on their way to Cuzco, they discovered the city of Potosi. 29 years later, they return to the same places, this time with their three daughters and a Super 16 camera. A road movie, which is both a depiction in real time of Potosi and the Andes and a journey of introspection for the filmmaker and his family. Potosi, at an altitude of 4,100 metres, was once one of the largest and richest cities in the world. But for the millions of indigenous people who were forced to work in the depths of the mountain, Potosi was the gateway to Hell. After its silver mines were exhausted, Potosi was abandoned, poor and forgotten. As in his previous film, Fragments - Jerusalem, Ron Havilio also uses personal material to draw a portrait of an Israeli family on the road, the generation gap, and a meditation on the passage of time.

In 1970, after their wedding in Buenos Aires, Ron and Jacqueline set off for the Andes, with backpacks and still cameras. While crossing Bolivia, on their way to Cuzco, they discovered the city of Potosi. 29 years later, they return to the same places, this time with their three daughters and a Super 16 camera. A road movie, which is both a depiction in real time of Potosi and the Andes and a journey of introspection for the filmmaker and his family. Potosi, at an altitude of 4,100 metres, was once one of the largest and richest cities in the world. But for the millions of indigenous people who were forced to work in the depths of the mountain, Potosi was the gateway to Hell. After its silver mines were exhausted, Potosi was abandoned, poor and forgotten. As in his previous film, Fragments - Jerusalem, Ron Havilio also uses personal material to draw a portrait of an Israeli family on the road, the generation gap, and a meditation on the passage of time.

In 1970, after their wedding in Buenos Aires, Ron and Jacqueline set off for the Andes, with backpacks and still cameras. While crossing Bolivia, on their way to Cuzco, they discovered the city of Potosi. 29 years later, they return to the same places, this time with their three daughters and a Super 16 camera. A road movie, which is both a depiction in real time of Potosi and the Andes and a journey of introspection for the filmmaker and his family. Potosi, at an altitude of 4,100 metres, was once one of the largest and richest cities in the world. But for the millions of indigenous people who were forced to work in the depths of the mountain, Potosi was the gateway to Hell. After its silver mines were exhausted, Potosi was abandoned, poor and forgotten. As in his previous film, Fragments - Jerusalem, Ron Havilio also uses personal material to draw a portrait of an Israeli family on the road, the generation gap, and a meditation on the passage of time.

Documentary about the history of Jerusalem.