Quijeremá composes, records and produces music for documentary films. Below are clips of of some of the films scored entirely by Quijeremá or for which they have provided incidental music.

Villa Grimaldi: Archeology of Memory is an art-piece that includes: a musical suite, a book and a documentary film and a multimedia installation. The work is a creation of Chilean artist Quique Cruz (aka Claudio Duran). The work gathers the art and the experiences of six artists who were detained in one of the most infamous torture centers during the Chilean military dictatorship of Pinochet: Villa Grimaldi. For the past four years, Quique Cruz has been interviewing, photographing and filming a group of artists--poets, painters, writers, playwrights, musicians-- who have created a narrative in which they explore the contradictions of terror and aesthetics, the notion of pain and beauty and how to convert darkness into light.

The Road to Chulumani; A journey to Bolivia with Rick Tejada-Flores, the Grandson of the Bolivian president Jose Luis Tejada Sorzano. The road leads to an abandoned castle, built by his grandfather Jose Luis Tejada Sorzano, using prisoners from the Chaco War that Boliva fought with Paraguay in the 1930s. Ageing veterans recall the brutal and senseless conflict as we see flickering images of the old battlefields. Then we travel to another family estate, and meet the descendants of the African slaves that used to grow the coca that the region produces. Klaus Barbie, a notorious Nazi war criminal, ran the sawmill at yet another old family property when he escaped from Europe after WWII. Chulumani, a sleepy provincial town full of ghosts and memories, is the end of the road. Written by Rick Tejada-Flores

Tinta Verde is the soundtrack to the documentary film ¡Pablo Neruda! ¡Presente! The movie features never before broadcast photographs, archival footage found from around the world, brilliant shots of Chile today, and vivid visual poetic sequen ce s as well as a soundtrack composed and performed by Quijeremá. The film can be shown in conjunction with a series of poetic and musical performances.

A heroic journey from loss to faith, trust and beauty
A new film by Karina Epperlein

The film “Phoenix Dance” shows us the beauty and strength of one individual who defies our expectations of what it means to be “disabled.” In March 2001, Homer Avila – who had been dancing with Twyla Tharp, Bill T. Jones, and Mark Morris – discovered that the pain in his hip was cancer. One month later, his right leg and most of his hip were amputated. What unfolds is the story of the pas de deux called “Pas”, which the renowned Alonzo King choreographed for Homer, now missing one leg.

The film is an intimate poem, revealing that when heart and will are joined, the impossible happens. Through interviews, studio rehearsals, and theatre performances, we witness a deeply moving collaboration. Interdependence, trust, and the process of “strength-building” by overcoming challenges in life, come visually alive. These themes could not be expressed more poignantly than in a duet for a female and a male one-legged dancer. In their dance, a creature with three legs and four arms emerges. The traditional roles are reversed: the man's vulnerability and the woman's strength complement each other, sweetly. And in their solo outbursts they spur each other on to great heights. “For me a pas de deux is a microscopic look into relationship,” Alonzo King says in the film, “and relationship could mean you with yourself... It could mean a part of you that’s dying. It could be you and your God, you and nature... wherever there is two negotiating or becoming one or struggling.”

Three years after his amputation, Homer died on March 26, 2004 of re-occurring cancer in the lungs; he was 48. He had disclosed his decision to keep dancing and not go into treatment to only a few people. While Homer’s death did not affect the making of the film, it only made it more essential that his legacy live on. He spent the last three years of his life doing what he loved most: dancing – one-legged – on stages around the world in pieces choreographed for him not only by Alonzo King, but by Victoria Marks and Dana Casperson of the Frankfurt Ballet. The urgency in Homer’s dancing, rehearsing, traveling and lecturing was palpable. He inspired all who came in contact with him.