Isabel Orellana Guarello

Otro Sol is a group of real and invented characters trapped in a film. It is also a purgatory of retired thieves that takes place on the coast of the Atacama Desert. The film is circular and seeks to invent and verify the myth of Alberto Cándia, a Chilean international thief who stole the Cathedral of Cadiz in Andalucia in the late 1980s.

A dialogue between the collective and the personal, a living memory that combines the dreams and realities of the Haitian community residing in Chile. This dialogue is guided by the voice of Wilner Petit-Frère, a Haitian immigrant who observes and captures, in a print publication, the society where he ended up living in this stage of his life.

Introverted Juan, manager of a mannequin factory, lives alone with his eighteen-year-old gay son, Pablo. Whilst Pablo blithely studies dance, Juan is hoping that, after twenty-five years at the firm, his boss will consider him for a partnership. When Pablo is badly wounded in a brutal homophobic attack which sees him hospitalised, his father realises just how far they have become estranged. A lack of witnesses and expensive medical bills force Juan to leave the quiet stability of his life for good and reposition himself in a world where there is discrimination. Time and again his efforts come to nought, until one night on the streets of Santiago he makes up his own rules in order to save his son.

Impressionist portrait of a landscape forged by tragedy. A ghostly wanderer among the vestiges of a story where 44 young soldiers and a sergeant were pushed to their deaths

Rafael Egaña (38) will soon be blind. With us, he makes the journey of the images that his father, an amateur photographer, has collected for more than 50 years. These images are memories, but what happens to them when vision is lost, do they disintegrate along with the visible world or do they become clearer because new ones can no longer be generated?

Rafael Egaña (38) will soon be blind. With us, he makes the journey of the images that his father, an amateur photographer, has collected for more than 50 years. These images are memories, but what happens to them when vision is lost, do they disintegrate along with the visible world or do they become clearer because new ones can no longer be generated?

Julia and Sofia are two sisters who, due to their father's illness, are forced by their mother to go to the country, with their aunt Cristina and two children they do not know. Both girls feel alien to this grandiloquent place as well as to these relatives with whom they seem to have nothing in common. The stillness of the countryside, the dead times of summer and a house that seems frozen in time are opposed to the imminent collapse of the girls, who intuit that those days are only an illusion.