The vocabulary of documentary cinema has countless dialects, and one of the most compelling is spoken by Tatiana Huezo. Karlovy Vary audiences could previously see her films Tempestad and Prayers for the Stolen, both of which explored systematic injustice in Mexico – the first as a documentary, the second through a fictional narrative. With The Echo, which won the Documentary Award at this year’s Berlinale, Huezo once again explores the same landscape. This time, however, she poeticizes not suffering, but the most ordinary existence. Her film is a cinematic visit to the countryside, a place where people live in harmony with animals and where old and young look after one another. It is a film as warm as an unexpected embrace or a kind word from a caring grandmother.