Nana Dijo is an urgent historical registry in the form of a documentary. Filmed in Mexico, Honduras, Uruguay, Argentina and the United States, it opens a crucial platform of analysis about race relations by transgressing beyond the parameters of “safe discourse” imposed by culturalist agendas. The narrative grows from the body of the oppressed as an auto-cartographic experience that trespasses the borders created by nation-states. Nana Dijo is the black experience often hidden in the colonized psyche, which goes out for a walk each Sunday through the vernacular experience of our grandmothers. Navigating in an industry flooded with politically conservative projects about Afro-descendency with approaches fully subordinated to the cultural hegemonies that aim to exoticize and not empower the oppressed, Nana Dijo emerges as a solid effort to affirm the black experience.