Terra Cene is a remembrance of things past and an observation of the interconnected nature of time on Earth.

Directors, Rodrigo Inada and NONO -Nono Ayuso-, reimagining of the 1977 Golden Record challenges our perception of time while dissecting its motivations.

Through a carefully crafted narrative that weaves through time past, time present, and time future, Terra Cene urgently questions, who and what will be left to remember? If the end is built into the beginning, it is our responsibility to protect the future.

We are guests, here for only a moment. Terra Cene delivers a hauntingly hopeful message, reminding us of our duty to preserve the beauty of life on Earth.

A story like this doesn’t need to search very far for inspiration these days, but can you tell us what ignited the visual direction?

We wanted to create the feeling that when you watch the film you are watching something from another time, the same feeling that you have when you open a time capsule, but we wanted to create this feeling both ways. As if you opened a time capsule from the past or from the future. So we mixed classic and modern film techniques to achieve the visuals that are on Terra Cene.

Can you tell us a little more about the two protagonists, and why you chose them?

They represent 2 different generations that have faced different realities. The old one, portrayed by an old white man, is a generation who dream to reach the stars. But the actual young generation is a generation that wants to turn our heads from looking to the space to look and take care of our planet.

How extensive was the planning for ‘Terra Cene’? Was every shot (including the stock footage) pre-planned? Or did you allow some elements to take shape during post-production?

We planned a lot of the film, during 3 months we were working on the core of the concept, the narrative and how we wanted to achieve it. But once you are on location, a lot of magic things happens, and that affects the post-production process.

We were lucky enough to have a great crew backing us, and helping to elevate the film. For example, the editor, Rigel, provided us with a bunch of amazing 35mm scanned footage from NASA, Eighty4 -the post house- help us when after the shoot we arrive with new ideas.