After studying abroad, Mercedes returns to her native city to join her father, acclaimed filmmaker and writer Victor Gaviria (The Rose Seller), in the shooting of his next film. He is a director who has filmed his family throughout the years.

In the encounter of both filmmakers’ ways of looking, her mother’s silence, and her brother’s stubbornness, Mercedes embraces the time they shared in their home videos and her family’s endless contradictions in order to find her own beginning.

As a result, the film works as a private diary that goes beyond familial conflicts to question the place of women in the film world, which is still strongly ingrained with a patriarchal mindset.

"The subtle power of Como el cielo después de llover is that as auteur, Mercedes reclaims her father's footage, gaining control over hers and others' representation and encouraging a reassessment of the 'reductive past' framed by her father." — Rebecca Wilson, Sounds and Colors

"Never didactic, the director tries always to keep distance, but it is not easy to keep the distance from your family. A calm but moving reflection on gender and filmmaking. " — Meredith Taylor, Filmuforia

"A bright example of these new [Latin American] gazes, which aim to renew and rebuild new paths in Latin American filmmaking, and break away from ideologies rooted in past generations, by exposing and questioning them." — Ivonne Sheen, DesistFilm

Cinema Tropical Awards - Best Documentary
Visions du Réel - Burning Lights Official Selection
Gijón International Film Festival - Best First Film; Young Jury
FICCALI - Best Female Filmmaker
MoMA - Docs Fortnight
Guanajuato International Film Festival