About our film

It was the weeping season,
The bright Spring,
When the skies remembering what had been,
Wept.
And the earth knowing and forgetting,
Laughed,
And drank tears.

– Miguel Hidalgo

When I was a child, my father embodied magic with every step and word. He was a black belt in Karate who could walk on his hands, and he meditated over a glass of water every morning, inviting me to help him predict the future through what I saw in the water with my mind’s eye. Every afternoon we would sit on the floor and imagine a flying carpet under us. We told each other about the world we flew over, one brimming with unicorns and eternal sunsets. He only missed our afternoons together when he was not in Caracas. When I was six years old, he began taking trips to the Gran Sabana, a region of Venezuela located at the heart of the Amazon. On December 18, 1983 he called from the Gran Sabana and promised he’d be home by Christmas Eve. It was the last time I heard his voice. Three days later he vanished without a trace.

The Weeping Season is a first-person feature documentary about my father’s life and disappearance and how our family learned to overcome that loss, as well as the loss of our homeland. After two decades of a populist regime, Venezuela is plagued by food and medicine scarcity, astronomical inflation, and elections that are condemned by democratic nations around the world. The film’s central question is how to survive personal and national losses—not only to survive them but to be transformed by them in ways that turn us into more creative, stronger, and more compassionate human beings.

Hover and click on each image below to learn more about our film and its characters.

My father took after his mother and had a lifelong infatuation with writing. He published his first poem in his school’s newsletter when he was five and never stopped creating worlds with words.

When will the film be finished?

We have completed more than half of principal photography for the film, which took place in Venezuela, the US, Spain, and Portugal. We just sent a crew of Venezuelan filmmakers to film in La Gran Sabana. The footage is key to the story because it is of professional quality, unlike the original camcorder footage we shot in 2004, and because they created first-person footage from my father’s perspective that we can use throughout the film. Additionally, we have a number of scenes that we need to film in Michigan, where I live, which we will complete this summer and fall.

Depending on the success of our fundraising efforts, our goal is for our editor, Cristina Carrasco, and I to have a complete draft of the film by spring of 2019. After running a number of test screenings with audiences in the US and Venezuela, we will be ready for color and sound correction by the summer of 2019 and aim to have a completed film by the fall of 2019.