Warmi Cine y Vídeo

All three filmmakers had previously been members of Chaski, a collective formed seven years earlier and guided by the ideals of horizontal organisation. This collective also included Stefan Kaspar, Alejandro Legaspi, Fernando Espinoza and Fernando Barreto. Barea, Torres and Goicoechea spoke out against the sexist practices they had experienced within Chaski, having been repeatedly relegated to secondary roles. This inspired them to create their own film collective.

From the outset, the members of Warmi were committed to collaborative filmmaking processes with women living on the outskirts of Lima. One group they worked closely with over the years were domestic workers. This group emerged as a result of migration flows that took place in Peru during the 1980s and 1990s, with women leaving rural Andean communities to earn a living as domestic workers in major urban centres—particularly in the Peruvian capital. 

The members of Warmi viewed filmmaking as a means of engaging with communities and creating social change. They travelled across the country to gather testimonies from various groups, including women farmers in the Cajamarca region. This approach enabled them to collaborate directly with domestic workers’ collectives and unions, including El Comité de Mujeres Aurora Vivar and IPROFOTH. Their work with these communities resulted in several films, including "Porque quería estudiar" (1990), Antuca (1992) and "Hijas de la violencia" (1998), all of which aimed to highlight the lived experiences of Indigenous women and girls in Peru.

The Warmi collective directed emancipatory films using a participatory working method. Their collaborative work went beyond simply involving the women on screen; it was also reflected in the horizontal management of workflows within each project.