KMKZ springs from an overlooked reality: a youth left unheard and an elderly population abandoned by the state. In Bogotá, wounded yet vibrant, exclusion and resistance coexist: trans and LGBTIQ+ communities, street vendors, recyclers, displaced people, and Venezuelan migrants. The film sits at the crossroads of urban poverty, displacement, and the legacies of conflict, including paramilitarism and extrajudicial killings known as “false positives,” alongside social protests, police violence, and disappearances. Seen through the eyes of a gender-fluid young person filming on a cell phone, the everyday record becomes an archive and a testimony. The narrative contrasts precarity with the myths of social media and embraces an austere aesthetic. After three years of observation and fieldwork in the city center, before, during, and after the pandemic, KMKZ portrays a Latin American metropolis that oscillates between community care and institutional indifference. It does more than depict: it demands attention and remembrance, so that no one ever disappears again. Never again.