Sound Designer
"Todo" (Everything) gathers the impressions of the filmmaker in her new surroundings, where she watches, classifies, and re-organizes everything that catches her eye. From a place of curiosity and amazement, she organizes an inventory of objects, characters, and situations. A tireless flow of images of the popular, the eccentric, the traditional, the new, the beautiful, and the ugly of the Matta Sur neighborhood of Santiago, Chile. An exercise of reflection on the destiny of images, their accumulation, classification, and order, modes of structuring the material, and the filmmaker's gaze.
Editor
"Todo" (Everything) gathers the impressions of the filmmaker in her new surroundings, where she watches, classifies, and re-organizes everything that catches her eye. From a place of curiosity and amazement, she organizes an inventory of objects, characters, and situations. A tireless flow of images of the popular, the eccentric, the traditional, the new, the beautiful, and the ugly of the Matta Sur neighborhood of Santiago, Chile. An exercise of reflection on the destiny of images, their accumulation, classification, and order, modes of structuring the material, and the filmmaker's gaze.
Director of Photography
"Todo" (Everything) gathers the impressions of the filmmaker in her new surroundings, where she watches, classifies, and re-organizes everything that catches her eye. From a place of curiosity and amazement, she organizes an inventory of objects, characters, and situations. A tireless flow of images of the popular, the eccentric, the traditional, the new, the beautiful, and the ugly of the Matta Sur neighborhood of Santiago, Chile. An exercise of reflection on the destiny of images, their accumulation, classification, and order, modes of structuring the material, and the filmmaker's gaze.
Producer
"Todo" (Everything) gathers the impressions of the filmmaker in her new surroundings, where she watches, classifies, and re-organizes everything that catches her eye. From a place of curiosity and amazement, she organizes an inventory of objects, characters, and situations. A tireless flow of images of the popular, the eccentric, the traditional, the new, the beautiful, and the ugly of the Matta Sur neighborhood of Santiago, Chile. An exercise of reflection on the destiny of images, their accumulation, classification, and order, modes of structuring the material, and the filmmaker's gaze.
Writer
"Todo" (Everything) gathers the impressions of the filmmaker in her new surroundings, where she watches, classifies, and re-organizes everything that catches her eye. From a place of curiosity and amazement, she organizes an inventory of objects, characters, and situations. A tireless flow of images of the popular, the eccentric, the traditional, the new, the beautiful, and the ugly of the Matta Sur neighborhood of Santiago, Chile. An exercise of reflection on the destiny of images, their accumulation, classification, and order, modes of structuring the material, and the filmmaker's gaze.
Director
"Todo" (Everything) gathers the impressions of the filmmaker in her new surroundings, where she watches, classifies, and re-organizes everything that catches her eye. From a place of curiosity and amazement, she organizes an inventory of objects, characters, and situations. A tireless flow of images of the popular, the eccentric, the traditional, the new, the beautiful, and the ugly of the Matta Sur neighborhood of Santiago, Chile. An exercise of reflection on the destiny of images, their accumulation, classification, and order, modes of structuring the material, and the filmmaker's gaze.
Second Assistant Director
When Camilo and his girlfriend, Pola, start to struggle in their relationship, she asks for a week away from him to assess the situation. Although Camilo agrees, he feels confused, as his undemanding life is made uncomfortable for the first time. Soon he meets Mikela, a disaffected teenage girl whom he befriends. However, when Camilo discovers Mikela's past diagnosis as a schizophrenic, he begins to worry about her safety.
