Focusing on two documentary films by Patricio Guzmán, $Chile,\; Obstinate\; Memory$ (1997) and, especially, $Nostalgia\; of\; the\; Light$ (2010), this paper examines some of the relations between neoliberal violence (during and after the Pinochet dictatorship), memory, knowledge and emotionality, both historical and personal. It does so by reading and reviewing the actions, narratives and experiences of a group of astronomers, archaeologists and geologists who work in the Atacama desert of northern Chile and a group of women who search for the remains of their loved ones, victims of political violence, in the same desert within the shifting contexts of cinematic spectatorship. Attentive to the possibilities and pitfalls of empathic identifications and connections, it also considers the ethical and political implications of the interplay of cinema (Guzmán), photography (Paula Allen) and poetry, sky writing and "land art" (Raúl Zurita).