Rodrigo Inada and Nono Ayuso direct ‘Terra Cene’.

 A remembrance of things past and an observation of the interconnected nature of time on Earth.

Words from Rodrigo and Nono below.

From your filmmaking arsenal, what was most flexed making Terra Cene.

As a directing duo, this project was really interesting to collaborate and work together, because we could really see our different backgrounds coming together to create this piece. The main challenge was: How we could tell a story that related to Climate Change and Space missions. We took our journalism background, visual background and blended them together.

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We believe that we need to tell stories to make people feel uncomfortable, to make people see other realities, see the other side of the coin…

What are your thoughts on the role of the filmmaker in inspiring change?

We believe that we need to tell stories to make people feel uncomfortable, to make people see other realities, see the other side of the coin… but don’t take our words wrong: our films are not like a priest in a mass, we really don’t want to give lessons to anyone.

People need to make their change from themselves, but we, as storytellers, love to approach themes that are important to us, and Climate Change is such a big topic right now for us and for the entire world.

If you could send one message to the future, what would it be?

Help us!

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Could you tell us about your approach to searching for, and selecting stock footage? Any rules, sorting methods, what was the brief.

We tried hard to avoid putting a lot of stock footage because we wanted to tell our story with our own footage, but inevitably we needed to showcase in the piece climate change-related catastrophes, the images that were present on the real Golden Record and Nasa footage from the original launchings.

We were excited to have access to 35mm scans from the Nasa database, so we could implement these footages on the cut and also recreate them with CGI.

The challenge for us was: How can we incorporate that footage in our film in a seamless way? So we had the idea of shooting in an AR LED studio so we could project those images on the screens to incorporate our characters in the scenarios creating this hyper-reality that we had in mind.

These Climate Change disasters happening with the planet Earth feels so surreal and we most likely see them through screens, on our phones, computers and TVs, until the day comes that we watch it in real life. So in the first part of the film the catastrophes happen on the screens, and by the end of the film they go full screen, so this is the idea we wanted to visually translate with the Climate Change related catastrophes.

What are you reading at the moment?

‘Literatura’ from Spanish writer Daniel Remón and unfortunately a lot of bad news about the effects of climate change in our beautiful world.

Director of Photography
Dina Golubeva

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