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Three decades later, the San Juan Civic Center construction project is back on track and, as if nothing had happened, the bureaucratic machinery seems to be united with the cranes and the human force and the megalomaniac desire that such an undertaking supposes. There, in that interruption and that return to activity, in the pharaonic recovery of lost dreams and projects that suddenly come back to life –as if they were architectural zombies–, there Mariano Donoso sees a movie.