CHAPTER 5 A Journey with an Expiration Date: Notes on Amnesia Letal’s Film Travesía Travesti Mónica-Ramón Ríos In early June of 2023, I spoke with Nicolás Videla virtually about the provenance and significance of the archival material included in their film Travesía travesti (Travesti Odyssey , 2021), how its production process— with such a focus on Santiago’s city center—had suddenly shifted with Chile’s General Revolt of 2019, 1 and about Videla’s stage and screen femme identity Amnesia Letal. The latter part of this conversation reflects 1 Known popularly as the “Revuelta” and institutionally as the “Estallido social,” the Chilean Revolt was a series of protests that occurred between October 18, 2019, and March 2020. A rise in subway fares ignited the protests, which soon expanded to other demands, particularly as the government violently repressed the protesters. On October 25, 2019, more than a million people took to the streets in a massive protest. Soon, this became a decolonial, antipolice, antigovernment, anticapitalism protest. The popula- tion, organized in local assemblies, demanded solutions to diverse issues, including the rising cost of living, unemployment, government corruption, lack of access to abortion, justice for gender-based violence, environmental decimation, and Indigenous representa- tion, among others. More than thirty protesters died and more than eleven thousand were injured. The end of the protests was marked by the COVID-19 pandemic, the militarization of the streets, and the negotiations made by younger politicians with the political status quo to make the diverse demands converge toward the writing of a new constitution, a process that in 2022 failed, leaving the demands unanswered. © The Author(s), under exclusive license to Springer Nature Switzerland AG 2024 M. H. Rueda and V. Barraza (eds.), Female Agency in Films Made by Latin American Women, Global Cinema, https://doi.org/10.1007/978-3-031-72600-2_5 97