For as long as I can remember, my father took refuge in his workshop to restore old motorcycles. It was never a business, he didn't ride them, he didn't show them off and that was always an enigma to me. In my memories he was a stern and inflexible man with my upbringing and that of my siblings. As a result of mutual misunderstanding and impossible dialogue, I lost the confidence to speak freely with my father and we drifted apart. Years later, when we met again in Ecuador, my father gave me the first motorcycle he bought and that gesture, which I did not understand, was the impulse that led me to approach him and try to establish a dialogue.  By doing so with film as my tool of expression, changes, new perspectives and questions arose as I filmed: Who is my father and who am I? If I understand his passion, will I be able to understand him, will I learn something about myself?

Perhaps the most important question is: Will spending time with my father and restoring an antique motorcycle with him allow us to restore our eternally conflicted relationship?

I think it is important to capture this direct and visceral reality with the documentary, which for me is the precise tool. At the same time, I hope that my questions and the situations that arise from them can allow the viewers to project themselves and generate emotions and reactions to their own conflicts. The film will then acquire its true value and communicate about the universality of human relationships, around themes such as growing up, becoming an adult, re-communicating, forgiving and reconciling.

For as long as I can remember, my father took refuge in his workshop to restore old motorcycles. It was never a business, he didn't ride them, he didn't show them off and that was always an enigma to me. In my memories he was a stern and inflexible man with my upbringing and that of my siblings. As a result of mutual misunderstanding and impossible dialogue, I lost the confidence to speak freely with my father and we drifted apart. Years later, when we met again in Ecuador, my father gave me the first motorcycle he bought and that gesture, which I did not understand, was the impulse that led me to approach him and try to establish a dialogue.  By doing so with film as my tool of expression, changes, new perspectives and questions arose as I filmed: Who is my father and who am I? If I understand his passion, will I be able to understand him, will I learn something about myself?

Perhaps the most important question is: Will spending time with my father and restoring an antique motorcycle with him allow us to restore our eternally conflicted relationship?

I think it is important to capture this direct and visceral reality with the documentary, which for me is the precise tool. At the same time, I hope that my questions and the situations that arise from them can allow the viewers to project themselves and generate emotions and reactions to their own conflicts. The film will then acquire its true value and communicate about the universality of human relationships, around themes such as growing up, becoming an adult, re-communicating, forgiving and reconciling.