"Lupe" a retrouvé le Chili en 1985, après douze ans de dictature et d'exil. Elle avait gagné la Belgique pour y vivre avec Ludo Wirix, qui fut le leader des étudiants liégeois fin 68. Après le décès de Ludo, elle renoue avec ses racines, sa langue, sa maison, sa ville, Santiago. Dans ses lettres adressées à l'auteur du film, elle raconte la fin de la dictature et les premières années de la démocratie. Mais il s'agit surtout d'une histoire individuelle, d'un regard sur soi-même, nourri par la mémoire. Tout, pour Lupe est une question de regard : regard sur son métissage culturel - un père chilien, une mère nord-américaine - regard sur son passé, nouveau regard sur sa ville après l'exil et sur le Chili d'aujourd'hui qu'elle vit comme une île tournée vers le nord, par delà la Cordillère. Le regard même de la caméra est vécu comme une intrusion, un vol d'images, dont elle tente de se défendre. Un film documentaire sans nostalgie.

In 1985, after twelve years of dictatorship and exile, "Lupe" returned to Chile. She had left it to go and live in Belgium with Ludo Wirix; the leader, of the Liège student movement of 1968. After Ludo's death, she is now restoring the ties with her language, her home and her city, which is Santiago. Through letters addressed to the maker of the film, she describes the end of the dictatorship and the first years of democracy. But it is above all a personal story, a self-analysis based on memories. For Lupe, everything is about observation - looking at her mixed origins : a Chilean father, a north American mother, looking at her past, a new looking at her city after the years of exile and looking at the Chile of today, which she perceives as an island facing the North, beyond the Andes. She regards the camera itself as an intruder, an image-stealer against whose searching scrutiny she tries to defend herself. An unsentimental documentary.

On 9th September 1944, ten inhabitants of Marcourt were burnt alive by the Nazis as a reprisal against local Resistance fighters. For 47 years, the families of the victims have had a grudge against the ancient Resistance fighters. The film relates the story inside the History, the history in the past and in the present time, how the village lives nowadays in the memory of the tragedy, torn apart by a wall dividing the clan of pro-Resistance and that of anti-Resistance. Within the confined space of the village, both camps settle scores with each other, Germany, the nazi barbarity, it lies too far away. Rooted to the spot with distress, they stand all there, as if it was still yesterday, on wooden benches, in the sunset light, stuck between the thick walls of the memorial chapel and the cemetery, naging their wings against the ghosts of the past. As the last witnesses of a village in the Belgian Ardennes which is dwindling away, they will always remember and they will never forgive