It is a story that translates human vision into the deepest feeling of the sea, one of the natural resources most affected by pollution in the world. The narrative and aesthetics aim to demonstrate the damage caused; a gray, cold and uninspiring panorama that seeks to be an object of conscience.
In the pain of the sea, the cause is not the visible protagonist of the story but an entity that remains hidden and is only portrayed in the consequences that leaves in its wake. The men of the sea are not transcendental beings in the project, although they are undoubtedly particularly affected.
The pain of the sea navigates between journalistic documentary and authorial intention. It was made on the island of Chiloe, Chile, during the month of May 2016, in an event that left hundreds of marine species affected by pollution caused by the salmon industry and an escalation of protests throughout the country. The environmental organization Greenpeace has placed it as one of the most serious socio-environmental catastrophes in recent years. This work does not only exclude that island, but in each of the regions where the collusion of the companies has destroyed the marine natural resources.