In 2002 Seyfert's vision for a cartel-free filmmaking enterprise began to take shape while exploring Latin America's inequities through the eyes of its dispossessed people: Widows of the Guatemalan ethnocide known as The Silent Holocaust near Rabinal, site of some of the bloodiest massacres in Guatemala's Civil War, coca farmers and abandoned Tungsten mine workers in the Bolivian Andes, an Amazon tribe being driven from the rain forest by loggers and oil companies, dreadlocked Jamaican descendants of slaves selling sex to middle aged women and the reclusive Rastafarian Mansion Bobo Ashanti of Bull Bay appeal for repatriation to Africa, "recicladores" dwelling on a 150-hectare Mexico City mega garbage dump and resilient Cubans in their daily struggle to survive in the ruins of Central Havana, 10-year-old street children living among deported American Mara Salvatrucha gang members in a devastated El Salvador and heavily armed Brazilian favela gangsters in their quest for humanity. Seyfert's films are entirely self-funded and produced with rudimentary tools and have remained relevant long after they were made. They are the subject of citation in academic articles and dissertations.