In her book Borderlands, La nueva mestiza (1987) Gloria Anzaldúa reclaimed the hybrid Chicano language and situated herself as a heterogeneous, marginalised subject of indigenous heritage. Heirs to Anzaldúa’s words, new mestizo languages flourish in a generation of filmmakers who rewrite narratives about identity and the colonial past of the places they inhabit. The indigenous film collective Karrabing or the creator Dafne C experiment with a visual language that moves quickly between music video, fiction, video art and poetic recordings to adapt to experiences and rhythms of life that have long been left out of the cinematic circuits.