Sonia Bermúdez divides her time between two cemeteries. In the town of Riohacha, Colombia, she manages the central cemetery, a quiet mausoleum of white-walled mausoleums decorated with crosses and floral arrangements. In the suburb of Riohacha, she operates her own cemetery, People Like Us, a resting place for people who die without anyone caring for their burial. Many of them are Venezuelan migrants, millions of whom have entered Colombia in recent years, fleeing the crisis in their home country. People Like Us is nothing like Central Cemetery. A row of cinder block mausoleums stands in the middle of a dry field, full of swirling dust and the sound of the wind and a nearby road. But in this rough and ready setting, Bermúdez offers the same care and dignity to the deceased. Throughout Pedro Samper’s film, Bermúdez’s complex personality becomes clear: she is both tough and deeply empathetic, offering songs, comfort and plea to those grieving the loss of a loved one and to those who died without anyone else commemorating them. passage.