Action and Collaboration. On how to document and amplify the performative dimension of projects such as RUS Miami. Their role was not limited to passive recording; instead, they produced dynamic audiovisual actions that translated ephemeral events, street interventions, and collective experiments into a cinematic language. By following Basurama’s dérives through scrapyards, neighborhoods, and improvised installations, Tomoto Films shaped a critical narrative that extended the reach of the projects beyond their immediate contexts. The films are both documentation and artwork: editing, framing, and montage created a rhythm that mirrored the energy of Basurama’s practice, emphasizing chaos, humor, and the aesthetics of waste. In this sense, Tomoto Films functioned as a collaborator in meaning-making, transforming actions into cultural memory and proposing video as an active participant in social practice rather than as a secondary archive. This collaboration exemplifies how independent cinema and contemporary art can merge in site-specific, process-based initiatives. The synergy between Basurama’s critical urbanism and Tomoto’s agile filmmaking created a hybrid field where the city itself became both stage and protagonist.
