Sophie França

정체를 알 수 없는 한 노부부가 매일 가방을 들고 교차로를 지난다. 감독은 그들에 대한 호기심으로 안데스 산맥의 프로빈시아 산이 보이는 사거리에 카메라를 설치한다. 카메라에 담긴 것은 몇 십 년간 붙박이처럼 있던 구멍가게들이 사라지고 대기업 체인과 높은 건물이 들어서며 변화하는 동네 풍경이다. 문득 감독은 집 안에 잠자고 있던 과거 기록을 찾기 시작한다. 언뜻 비서사적인 이미지의 나열로 보이는 이 영화는, 삶의 변하지 않는 가치에 대해 질문하며 관객 스스로 이미지의 맥락을 만드는 경험을 선사한다.

정체를 알 수 없는 한 노부부가 매일 가방을 들고 교차로를 지난다. 감독은 그들에 대한 호기심으로 안데스 산맥의 프로빈시아 산이 보이는 사거리에 카메라를 설치한다. 카메라에 담긴 것은 몇 십 년간 붙박이처럼 있던 구멍가게들이 사라지고 대기업 체인과 높은 건물이 들어서며 변화하는 동네 풍경이다. 문득 감독은 집 안에 잠자고 있던 과거 기록을 찾기 시작한다. 언뜻 비서사적인 이미지의 나열로 보이는 이 영화는, 삶의 변하지 않는 가치에 대해 질문하며 관객 스스로 이미지의 맥락을 만드는 경험을 선사한다.

A tribute to the Chilean actress Myriam Palacios, edited from scenes of some films in which she participated, interviews, photos, memories of her colleagues and home archives. Both a collage and a poetic portrait of intimacy.

A tribute to the Chilean actress Myriam Palacios, edited from scenes of some films in which she participated, interviews, photos, memories of her colleagues and home archives. Both a collage and a poetic portrait of intimacy.

Just like in 1985, today Ignacio Agüero is back interrupting filmmakers during shooting, but not to ask what he did thirty years ago, but to find out what is purely cinematographic in what they film. These conversations are related to images in the director's personal archive, as if what is truly cinematographic was found among bits that were never made for the screen.

Just like in 1985, today Ignacio Agüero is back interrupting filmmakers during shooting, but not to ask what he did thirty years ago, but to find out what is purely cinematographic in what they film. These conversations are related to images in the director's personal archive, as if what is truly cinematographic was found among bits that were never made for the screen.

A prominent Chilean documentary director shares his family album with the film editor of his late works. A review of one hundred photographs and a quiet conversation will rise to memories of the films of one of the most personal filmmakers.

The house of the director has a door out to the sidewalk. This gate separates the inside from the outside. The interior contains the filmmaker's personal story and his world of objects, thoughts and imaginations. Outer space contains the city of Santiago de Chile. The stories of the world inside the house are interrupted when the doorbell rings unknown and thus come into the film.

The house of the director has a door out to the sidewalk. This gate separates the inside from the outside. The interior contains the filmmaker's personal story and his world of objects, thoughts and imaginations. Outer space contains the city of Santiago de Chile. The stories of the world inside the house are interrupted when the doorbell rings unknown and thus come into the film.

The house of the director has a door out to the sidewalk. This gate separates the inside from the outside. The interior contains the filmmaker's personal story and his world of objects, thoughts and imaginations. Outer space contains the city of Santiago de Chile. The stories of the world inside the house are interrupted when the doorbell rings unknown and thus come into the film.

Documentary about the Chilean poet and Nobel Prize, Gabriela Mistral, and her relationship with the American Doris Dana. Gabriela meets Doris when she thinks she cannot overcome the biggest tragedy of her life: the suicide of her only son. Doris, realizing that her partner will be gone soon, records the conversations with her in their Long Island house. These recordings will be the access to the affective universe of a woman who lives in permanent tension with her inner demons and whose sensitivity and ambition make her the protagonist of her time.

Concerned about the future of her three children, a widow takes them to the city with the purpose of getting them married.

Gathered by a theater company, a small town in Chile called Villa Alegre, looks deep into its origins and myths to tell their own history through a play.

The seductive quality of the night of a saturday where both the rich and the poor experience the drunken urgency of the party and the clock.

Teresa is a girl from Chilean aristocracy. She lives a double life, at day she dresses very elegant and fancy, while at night she assist to high society meetings at the Crillon Hotel in Santiago, where diplomats and wealthy people meet. However, her family is economically ruined after a bad sale of her father's mines and they have to live at Romero Street, where the working class lives.

Erwin Valdebenito is an anonymous and quiet man who works in a state office. At the same time, he is an athlete who trains daily for the sport he loves: the ultramarathon. Every morning, Erwin Valdebenito risks his life in the middle of the road, driven by a desire that grows more intense each day. Running to the limits of obsession means looking at the normal and the bizarre, where the mystery of every dream prevails.