Portland Filmmaker Talks Boundaries and Identity – Reed College Mission

The performance began with Marrufo’s back turned to the camera. Start a conversation about the limits of the words “why” and “how.” Then they moved on to talk about a pivotal history in their lives, April 4, 2010, the day of one of the strongest earthquakes that occurred in northwestern Mexico, where Marovo lived at the time. Marrufo switched to sharing their screen to view a home video they took during the earthquake. It was not immediately clear what was going on. The scene simply looked like a group of people gathered in someone’s house. Suddenly people started screaming, and the camera shook towards a pool that seemed to be overflowing, as the pool’s water splashed to an impressive height. Then the footage snapped into a shot of smoke shrouded mountains. It was clear that something enormous was happening. The final scene of a man singing a portico, a traditional Mexican song containing lyrics about a historical event, was about an earthquake. The man categorically sang about the feelings that came with the earthquake as well as the significance of its occurrence on Easter.

After the movie, Marrufo narrated how they moved to Portland and felt happy to be “earthquake free”. However, people interviewed here kept referring to the massive earthquake that was set to cause Portland. They said, “Sometimes, I feel like earthquakes are chasing me.” They talked about the power outages that occurred after the earthquake and the emotions they triggered. “In a silent city,” they said, “You hear the body whisper getting huge.”

The rest of the night followed this format, with Marrufo switching between reciting a monologue on camera and sharing their screen to show their movies. Through their monologues, Marrufo talks about the experiences that illuminate their artwork. They were born in the United States but raised in Mexico, so they felt the boundaries sharply split from a very young age. They also talked about the dominant themes in their films, and recounted how they had always been curious about the origin of boundaries. They said that the answer is found in the body: “The body is the first and last limit.” Marrufo said that their identity is one of the Sons, and that their weirdness, danger, and upbringing near boundaries all help them at work.

These monologues have been nested in a variety of different films depicting a wide range of themes and styles. One particularly striking movie featured a group of people in a red hood over their heads in various locations. One person sat in the wreckage of a plane, and the last wheelbarrow rolled over the fire in the desert. The film’s final scene embodied the overarching themes in Marrufo’s work: one of the characters in red paper walked along the beach toward a towering barbed-wire fence. The camera slowly retracted to reveal the size of the fence. The fence made a person dwarf with his tremendous height, showing how boundaries are often a big and frightening force.

Before the final film, Marrufo performed their monologue in which they imitate walking a tightrope while wearing high heels. They said they often pictured themselves balancing on the boundary wall during a sunny day as people cheered on both sides. They have revealed that they have become obsessed with retelling people’s stories of crossing borders because Marrufo, in the moment of retelling, is like a narrator: they do not belong anywhere.

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