Hot Docs 2024: The Fabulous Gold Harvesting Machine | Interview of Alfredo Pourailly De La Plaza

In his debut feature-length documentary filmed at the edge of the world, Alfredo Pourailly De La Plaza offers a delicate observational lens into the poignant relationship between a father and his son in The Fabulous Gold Harvesting Machine.

When Alfredo Pourailly De La Plaza answered the call of curiosity and fascination by traveling to Tierra del Fuego at the southernmost tip of his native country, Chile, he encountered “Toto,” one of the last artisanal gold miners in the area, whose appearance and wit piqued the young filmmaker’s interest. Twelve years later, The Fabulous Gold Harvesting Machine has just celebrated its world premiere at Hot Docs 2024 in Toronto, Canada. A Chilean-Dutch co-production, Alfredo Pourailly De La Plaza’s debut documentary feature is a beautiful observational film filled with human warmth, capturing a touching relationship between a father and his son.

Much like water that works the mine’s terrain to harvest gold nuggets, Toto’s grueling working conditions erode his own body to the point where his health becomes an urgent concern. To help him, his son Jorge embarks on a crazy project: to build a gold harvesting machine with his own hands that neither his father nor he can afford. Purchasing and transporting materials, cutting, welding, refining the structure, and engineering the machine prove to be Herculean tasks. The Fabulous Gold Harvesting Machine portrays Toto’s character in a delicate observational style as much as it offers a poignant glimpse into Jorge’s commitment to his father.

We had the pleasure of speaking with the director in Toronto.

Mehdi Balamissa (Film Fest Report): What drew you to Tierra del Fuego? Your connection to this region seems quite profound. Could you elaborate on its distinctive atmosphere and what attracts you to it?

Alfredo Pourailly De La Plaza (Director): Tierra del Fuego, nestled at the southern tip of the Americas, holds a special allure. This island is shared between Argentina and Chile. I have always been drawn to remote and isolated places like this. While the Argentinian side boasts two sizable cities, the Chilean side is characterized by just a handful of towns, the largest of which houses only 6,000 people. It’s sparsely populated, with roughly 0.2 inhabitants per square kilometer, which I find captivating. These are places where people aren’t in a battle against nature but rather must forge a connection with it, aligning their lives with the seasons for survival. The environment is rugged and unforgiving. Francisco Coloane, a Chilean writer who resided there for a significant period, chronicled the tales of its inhabitants, which deeply resonated with me during my university years. His narratives fueled my desire to venture there and explore the world’s southernmost town, just beyond Tierra del Fuego.

Mehdi Balamissa: Could you shed some light on the people of Tierra del Fuego? Are characters like “Toto” and Jorge emblematic of the region’s inhabitants?

Alfredo Pourailly De La Plaza: Toto and Jorge exemplify the spirit and resourcefulness prevalent among the locals. In such remote regions, access to resources is limited, necessitating self-reliance and ingenuity. Gold mining in Tierra del Fuego, once a bustling industry during the early 20th-century gold rush, has dwindled today. Few artisans continue this trade, with Toto being one of them. As depicted in the film, Jorge is deeply rooted in the tradition of horseback riding as well, indicative of the rural lifestyle prevalent in the area.

Mehdi Balamissa: Gold mining appears to be grueling work. How did you approach conveying the physical toll of Toto’s labor on screen?

Alfredo Pourailly De La Plaza: I sought to illustrate the arduous nature of Toto’s work visually rather than through explicit dialogue. Close-ups of his weathered hands, bearing the scars of his labor, speak volumes. His hands are a testimony to the harshness of his life. They tell the story of his struggles. Despite Toto often suggesting I ask him about the challenges he faces, I opted to let the audience feel it. By the beginning of the film, he writes in his diary that he is turning 56 on that day. But from what the viewer saw, it seemed he was twenty years older. His own body tells us how harsh the environment and the work are. I found it fascinating to portray his difficult living and working conditions in this way. In my case, I actually worked with him quite often. The camera was not always rolling, and I would help him. I am thirty years younger than him, but after a day working in the mine, I felt so much pain in my back. I understood how tough Toto really is.

Mehdi Balamissa: Your relationship with Toto is palpable on screen, fostering an intimacy that enriches the film. How did you cultivate such a profound connection with him?

Alfredo Pourailly De La Plaza: The film wouldn’t be the same without this level of access. It was something that developed organically. I have a genuine interest in understanding people and their realities. But I don’t approach it as an outsider merely visiting a place; I immerse myself in their lives by spending time with them. And of course, time played a crucial role. Toto had appeared in TV shows before, but those were usually filmed over just half a day. From the outset, I knew I needed to spend extended periods there to capture the nuances of Toto’s life, from his moments of rest to the seemingly mundane tasks that reveal so much about him. Spending time with someone allows for genuine moments to occur. Additionally, I always aimed to be respectful and considerate of his wishes. If he wasn’t comfortable doing something, we didn’t pursue it. I think I gained Toto’s trust relatively quickly, which then paved the way for Jorge’s trust as well. Had I only filmed for a year, I wouldn’t have captured those intimate moments, like the one at the end of the film when he reflects, “You try not to lose the day, but you end up losing your life.” These moments only emerge when time is invested. I consider myself fortunate to have had the opportunity to extend this production over many years. Toto always enjoyed being filmed, which was a considerable help from the beginning. However, he didn’t fully grasp my approach. I aimed for an observational style, while he often requested, “Please ask me things.” He would jokingly criticize my methods, saying, “This isn’t how you make a documentary; you’re going to get fired, you’re doing it wrong.” Nonetheless, he agreed to cooperate according to my vision. Building a rapport with Jorge was more challenging. Initially hesitant to commit to the film, he eventually understood its significance for his father. Over time, Jorge and I developed a relationship. He must have appreciated the effort I made, traveling from afar every year to document his father’s life. Ultimately, he became deeply involved in the film, for which I am immensely grateful.

Mehdi Balamissa: The film centers on family dynamics. Jorge’s dedication to his father is truly touching. Could you describe their relationship?

Alfredo Pourailly De La Plaza: In the film, I aimed to depict the challenges Jorge faces while assisting his father. He struggles to find enough time for himself amidst his responsibilities. Building the machine took seven years, given financial and time constraints. Jorge was just 15 when filming commenced, and we were still filming when he turned 21, an age when most young people pursue different interests. Reflecting on my own experiences at that age, I found Jorge’s commitment inspiring. He didn’t complete his education, and he’s far from being an engineer, yet he achieves remarkable feats. I was captivated by his unwavering determination to support his father. Despite the immense difficulty of the task, he gives it his all. Balancing work to afford materials with the demands of building the machine proved challenging. By the film’s end, we witness that the handmade machine isn’t yet perfect. However, it’s the journey itself that fascinated me.

Mehdi Balamissa: You traveled to film Toto twice a year for many years. From a directorial perspective, how did you manage a long-term project with limited time spent with your subject each year? Were you concerned about maintaining control over your narrative?

Alfredo Pourailly De La Plaza: What worried me most was investing all my money into a film centered on a process, specifically the construction of the machine. I feared what would happen if the machine never materialized. Since our story revolved around its creation, that was my biggest concern. I had to consider a Plan B in case the machine never came to be. We had already titled the film “The Fabulous Gold Harvesting Machine,” so if it didn’t exist, it would disappoint the audience. My backup plan was to show that the fabulous gold harvesting machine was actually Toto himself. This alternate ending still provided a satisfying narrative arc, connecting viewers emotionally while emphasizing the achievement of the machine. Witnessing Toto and Jorge test the machine for the first time at the mine, despite the challenges, was incredibly rewarding.

Mehdi Balamissa: Your debut feature underwent various dedicated programs hosted by IDFA, Hot Docs, and others. Can you share more about this journey and how it contributed to your project financially and artistically?

Alfredo Pourailly De La Plaza: This journey was essential, especially for my first film. How do you build trust and convince funding bodies to support your project, even if it’s a $200,000 budget, which was substantial for me? These labs and markets played a vital role in gaining recognition and support. They provided a network and backing from reputable institutions, which was invaluable. Securing funding from the IDFA Bertha Fund was a significant breakthrough. With this initial support, we conducted research and produced a trailer, which then helped us secure funding from Hot Docs, followed by the Chilean Ministry of Culture, the Netherlands Film Fund, Al Jazeera, and others. This journey wasn’t just financially rewarding but also artistically enriching. The labs offered invaluable opportunities to refine the story, especially as a first-time director. The feedback and insights I received were priceless. I’m incredibly grateful for the chance to create a professional and creative documentary. Premiering the film at Hot Docs felt like a culmination of this journey, especially since Hot Docs was one of the first institutions to believe in us.

Mehdi Balamissa: Can you tell us about your current projects?

Alfredo Pourailly De La Plaza: I oversee a documentary film program that supports filmmakers. ARCA (Artist in Residency Cape Horn), as we like to call it, is the southernmost film program globally. We take filmmakers to a lodge in Puerto Williams for two weeks, providing mentorship and facilitating project development. I had the idea of starting ARCA from attending labs myself. Recognizing their importance, I managed to secure funding in Chile to establish this program while working on my own feature. This year marks the fourth edition of the program. Additionally, I’ve produced a long-term photo documentary project called Ice Postcards, where we showcase the changes in glaciers by comparing archive photos taken by explorers with recent images from the same isolated places, highlighting the contrast and impact of climate change. Currently, I’m in the early stages of conceptualizing my next creative documentary. I have several ideas set in Tierra del Fuego that need further development before they become projects. One crucial lesson I learned from making my first feature documentary is that the endpoint often differs significantly from the starting point. Nevertheless, a strong starting point is essential, so I’m working on refining these ideas.

The 31st edition of Hot Docs – Canadian International Documentary Festival is taking place from April 25th to May 5th, 2024 in Toronto, Canada. Explore our coverage here.