On a remote farm in Chile, a latine woman lives in peaceful isolation until unexpected outsiders shift her world into a surreal landscape. Our protagonist contemplates her relationship to the land: is she herself a visitor? Is this her true home? 

The film will have vibrant and poetic visuals: from sleeping oxen in hammocks, to a violet sky that mimics the hue of the endless bushes of blackberries our protagonist devours. The protagonist encounters a three legged dog and its doppelganger with all limbs intact; a ghostly voice that is revealed to be the echo of her own; and modern-day colonizers riding saddle-backed on cows. 

Why this story? 

As a Latine artist, Ibarra seeks to tell stories that bring her closer to her ancestral roots and explore the complex history of the Indigenous culture, African diaspora and European colonialism that make up the present day Latine identity. 

The surreal, whimsical, and ridiculous elements of the film weave magical realism throughout the plot: a historically Latine narrative style, further grounding the project in its cultural base. 

As a bi-racial person, Ibarra has often been unsure of her place in society, pushing her to seek connection with her ancestry through nature. This film is for those who feel at home with the earth, wherever they may find it, and no matter their identity. 

Elements of magical realism and dance are essential to the storytelling of Todo el Tiempo en el Mundo. The film has little dialogue, so movement is an essential form of expression for the protagonist. This will help convey the story in a more unconventional way.

A former dancer and lifelong admirer of the art form, Ibarra is thrilled to finally incorporate dance into the bedrock of a creative project. Ibarra has cast Chicago-based dancer, Tina Diaz, to play the protagonist in this short. A pivotal point of the film revolves around a contemporary dance sequence that Diaz will choreograph. 

The location of the film is an expansive ranch on Lago Rupanco, the ancestral land of the Huilliche tribe. The environment has every element needed to make the story come alive; the landscape itself is considered a significant character in the film. Below is a photo that Ibarra took during her time there in 2019, in addition to the photographs used for the graphic design throughout our campaign page.

To hear more about Lago Rupanco and why it is essential the film be shot there, check out Ibarra’s pitch video above. 

The film is in pre-production and our US / Chilean crew is almost entirely assembled (check out our team page :)). Our most important pre-production task at the moment is making this crowdfunding campaign as successful as possible! Our tickets are booked and our producers are standing by for your donations to take action on furthering our production plans (renting gear, booking car rentals etc).

We are set to depart for Chile the first week of December, where we will spend 10 days at Lago Rupanco, collaborating among our local Chilean and US crew to bring the magic of the landscape to the screen. The reason for the length of production is twofold: it is a difficult place to get to, therefore it will take time to travel there. More importantly, it is essential to Ibarra & Chilean producer/inhabitant of the land, Ignacio Brunetti, to take the necessary time to respect, observe, and capture the landscape sufficiently. 

The goal is to have this film finished by Summer 2025, after which our Chilean producer Jose Manuel Velez will work on getting the short screened at South American film festivals. Our US producer Anna Torzullo will work to distribute the film throughout the domestic festival circuit. 

Where is the money going?

We have currently gathered enough funds to get our US crew of 7 and equipment from New York to Santiago. The rest of the funds raised from this campaign would go toward traveling within Chile, the location fee, hiring local crew & talent, equipment rental, and meals for the cast & crew.

This project has been in the making since 2019 and it is finally time to see it to completion. Your contribution will go toward a team of passionate individuals who care about making art for art's sake in a world that rarely gives them that opportunity. It would also be a step toward advancing an industry that still lacks Latine and non-male voices. 

In 2022, 17% of film directors in the United States were part of an ethnic minority, while 83% were white. Women made up 22% of directors, writers, producers, executive producers, editors, and cinematographers on the top 250 films of 2023. 

Even a small contribution would make a world of difference in the effort to bring more underrepresented perspectives to the forefront of indie film. 

If we make it past our goal, every penny will be used for the making of this project! Our post-production will be achieved for much more of an affordable cost, mainly due to the fact that Ibarra will be editing the film. However, donations that extend past our current goal will go toward hiring a colorist, a vfx artist, and festival submission fees.

We hope you join our passionate team! We thank you so much for you any support, whether it be a direct contribution or sharing the link! 

You can follow us on our journey on instagram @todoeltiempofilm

If you'd like see work see prior directorial work by Ibarra, check out luckymilkfilms.com

If you'd like to read an interview with Ibarra about the film, check out this article in the Brooklyn Paper.

If you would like to receive the Lucky Milk Newsletter, you can subscribe here!

*Those who have the opportunity to have their donations matched by their employers, please reach out to Stephanie directly at [email protected] (we are fiscally sponsored!)