For decades, foreign cinema has crossed Peru like an available backdrop: mythical jungle, exotic ruin, adventure landscape. Territorio Disponible draws on a real archive gathering the complete set of foreign fiction films shot on Peruvian territory, from Fitzcarraldo to Indiana Jones, from Transformers to Paddington. Presented on phones in vertical format, these images no longer show a place but a shot, a backdrop that is always already prepared, as if the territory had no other status than that of being activated, cut up, replayed. Two PAL monitors slide Antonio Banderas's Hollywood Zorro against Christian Meier's telenovela Zorro, between latin lover, don Juan, and brichero, figures shifting from one regime of visibility to another as forms of capture of desire. A series of portraits borrows the codes of Latin American republican painting to treat figures of world cinema as official heroes, somewhere between national gallery and hall of fame, where the image stops representing in order to organize what can appear, and what simply remains available.