The first time I traveled to the Valdivia Film Festival was in 2011, while I was still a student. That time, I saw two films (Girimunho, and O Céu Sobre os Ombros), whose treatment of the intimate, and documentary representation ethics prematurely influenced my micropolitical audiovisual work, affecting my first movie (Naomi Campbel, 2013), which premiered two years later at the same festival. FICValdivia not only compels us to move physically, but it also has the ability of mobilizing our thoughts. Three years later, I would return, to present my second film for the first time: El Diablo es Magnífico (2016). The geography in the south and the warmth of the festival have constructed a safe space to give birth to these pieces. I’m not at all a nationalist, but I care that the discourse and images are shared with those they are closest to. In our country, it is urgent to pay attention to a group that has been the object of structural violence since its colonization. I’m speaking about the non-binary identities that have been condemned to marginalization, along with the historic damage this has carried. Cinema, then, is an important tool for our memory, especially for people like us, who haven’t been represented in any kind of medium by the normative regime, and the Valdivia Festival plays a key role, thanks to its broad outlook regarding current issues and realities. Valdivia has marked a ritual time for me, and the perennial return will be inescapable.