Documente Academic
Documente Profesional
Documente Cultură
PLATAFORMA
ALIADOS PRINCIPALES
PATROCINAN
AUSPICIADORES OFICIALES
AUSPICIADORES
MEDIA PARTNERS
MEDIA PARTNERS
MEDIOS COLABORADORES
COLABORADORES
COLABORADORES
Palabras
09
Words
FILMS DE
INAUGURACIN &
CLAUSURA
OPENING & CLOSING FILMS
p.23
Cortometraje
de Inauguracin
25
26
Opening Feature
Film de Clausura
27
Closing Feature
EN COMPETENCIA
IN COMPETITION
p.29
Seleccin Oficial
Largometraje Internacional
31
Official International
Feature Selection
Seleccin Oficial
Largometraje Chileno
45
Official Chilean
Feature Selection
53
Seleccin Oficial
Cortometraje Latinoamericano
Official Latin American
Short Film Selection
Seleccin Oficial
Cortometraje Infantil
Latinoamericano FICVin
67
CINEASTAS
INVITADOS
INDEX
INDICE
GUEST
FILMMAKERS
p.75
Bill Morrison
76
Patricio Guzmn
86
Joel Potrykus
94
Mara Alch
100
Roya Eshraghi
106
MUESTRA
PARALELA
OUT OF
COMPETITION
PROGRAM
p.113
HOMENAJES
MUESTRA UACH
TRIBUTES
UACH PROGRAM
Buster Keaton
114
Carlos Gardel
120
Chick Strand
130
138
Muestra 60 Aniversario
Facultad de Filosofa y
Humanidades UACH
60TH Anniversary Philosophy
and Humanities Faculty
Program UACH
MUESTRA
CINE CONTEMPORNEO
Muestra Facultad
Arquitectura y Artes UACH
Gala
Gala
145
Nuevos Caminos
New Pathways
155
Disidencias
Dissidences
175
Nocturama
Nocturama
181
Muestra Largometrajes
Infantiles Internacionales
Primeras Naciones
First Nations
185
Childrens International
Feature Program
189
Muestra Cortometrajes
Infantiles Latinoamericanos
225
MUESTRA
INFANTIL FICVin
FICVIN CHILDRENS PROGRAM
233
239
MUESTRA
RETROSPECTIVA
CINEMUS
RETROSPECTIVE PROGRAM
CINEMUS
La Leccin de Cine
The Film Lesson
221
245
201
AUSTRALAB
Totalmente Salvaje
Absolutely Wild
207
VHS Ertico
Erotic VHS
211
Clsicos en Technicolor
Technicolor Classics
215
AUSTRALAB
249
PALABRAS
WORDS
10
palabras
[23] FICVALDIVIA
[23] FICVALDIVIA
11
words
Chilean cinematography is living a historic international moment. The consolidated presence of our creators at the main festivals in the world has
surprised everyone, not only because of the amount of projects, but also
due to the high quality, sensitivity and originality of our filmic production.
The great national festivals have been indispensable in the construction
of this context. Within this universe, the Valdivia International Film Festival particularly stands out. The instance has become a cant miss in the
entire industrys calendar, because it is a unique showcase for the regions
experimental cinema, and also a space that contributes to strengthen the
complete chain in film production. Indeed, cinema begins long before it
reaches the venues, possibly with a small idea, which requires the structures
that allow it to develop.
In that sense, during these 23 years, FICValdivia has been a great ally
to our institution and to Valdivia, a city that has also received the benefits
that events such as these bring to the community. It is not by chance that
the town became the first film friendly city in Chile, a term coined by Film
Commission Chile of the National Council for Culture and the Arts, to designate those areas that seek to enhance their territory by being open to
receive, support and bolster audiovisual activity.
FICValdivia is an organization that contributes significantly to the development, access and promotion of the audiovisual sector in the country, with
a vision that keeps true to the notion that, for independent Latin American
cinema to grow, it is necessary to deploy a collaborative logic among all players.
All that rests is to congratulate the organizers of the Valdivia International
Film Festival, for the excellent labor they carry out year after year, and to
especially highlight this new version, which ratifies the events commitment
to social and cultural development in Chile, with its sustained contribution
to education, thematic diversity, cultural and political debate, and of course,
to the promotion of culture access as a social right.
12
palabras
Egon Montecinos
Intendente
Regin de Los Ros
El Festival Internacional de Cine de Valdivia se ha convertido en una estacin imprescindible en el circuito cinematogrfico internacional. Iniciado
al alero de la Universidad Austral de Chile e impulsado con entusiasmo
y perseverancia por un grupo de soadores, esta nueva versin lo posiciona, una vez ms, como una instancia de convergencia de realizadores
nacionales y extranjeros.
La consolidacin del Festival Internacional de Cine de Valdivia ha
llevado a que este certamen se site en el centro de un sector econmico
que identifica a la capital regional como una Ciudad Creativa, impulsando
el desarrollo cinematogrfico local, as como el de otros diversos rubros
vinculados con las manifestaciones culturales y artsticas.
Sobre la base de estos fundamentos, en el Gobierno Regional de Los Ros
y junto al Consejo Regional, ratificamos, una vez ms, nuestro compromiso
con esta instancia de encuentro cinematogrfico, mediante la aprobacin
de recursos financieros que permitan materializar una nueva versin.
Fortalecer este festival, nuestro festival, es un propsito compartido por
quienes conformamos el Gobierno Regional y por los consejeros regionales,
convencidos de su invaluable aporte al desarrollo cultural de Los Ros y de
su condicin de punto de encuentro con el mundo, que permite visibilizar y
proyectar a nuestro territorio y su gente ms all de sus fronteras.
[23] FICVALDIVIA
[23] FICVALDIVIA
13
words
Egon Montecinos
Intendant
Los Ros Region
14
palabras
[23] FICVALDIVIA
[23] FICVALDIVIA
15
words
It has been 23 springs since the first version of the positively scintillating
Valdivia International Film Festival, a true source of pride for Valdivia and
the entire Southern Cone, bringing to the screen every year one of the most
remarkable filmic events in this part of the world. And, thanks to a strategic
alliance between City Hall and the Valdivia Cultural Center for Film Promotion,
we are proud to play host. And we intend to be up to the challenge, offering a
green, cosmopolitan and sustainable city, a city in human scale that, during
the days of these filmic festivities, lets people tour it on foot, while watching
the hordes of cinephiles with their catalogs on hand, recommending the most
important premieres in the season to anyone who will listen.
In this logic, our planning work in terms of tourism and culture has not
been random: in 2014, we became the first film friendly city in the country,
thanks to a bilateral agreement for audiovisual promotion with the National
Council for Culture and the Arts. Evidence of this is that in recent years
we have been a preferred location for films, commercials and TV series,
a showcase that contributes to present our city in the best way possible,
both nationally and abroad.
The same planning has allowed us to obtain the title of Cultural Capital
of the Americas during 2016, while our Film Festival has managed to extend
its programming during many months of the year, affording recreational
alternatives to Valdivians and guests alike, and contributing in our goal to
break with seasonality.
We wish a pleasant stay to all who come visit us today, and we invite the
citizens of the Rivers City to sell-out each one of the functions in the program.
WELCOME TO VALDIVIA, TODAY AND ALWAYS!
16
palabras
Oscar Galindo V.
Rector
Universidad Austral de Chile
[23] FICVALDIVIA
[23] FICVALDIVIA
17
words
Oscar Galindo V.
Rector
Universidad Austral de Chile
The Valdivia International Film Festival, which this year celebrates its twenty-third version, is a response to the need for finding an alternative space to
the commercial cinema industry. Thus viewed, FICValdivia favors audiovisual
production related to art house cinema, to documentaries, to films hailing
from Latin America and Chile, from native peoples, among many options
that open to new visions and new media. Its broad program contemplates
the screening and thus raising awareness about the value of Chilean and
international productions that lie outside traditional distribution circuits.
FICValdivia has managed to maintain its quality and extend it over time,
as it is no longer one week of concentrated activity; the festival team puts
together a varied program throughout the year, allowing access to quality
films, collaborating with audience development and opening new spaces
for up-and-coming audiovisual productions.
It is noteworthy that this year, FICValdivia is incorporating instances to
dialog around social and political issues from the scope of literature, with a
handful of book releases by leading intellectuals and professionals, which
enrich the complexity of the different discourses and languages.
With the slogan the classics of tomorrow underscoring this new edition,
we invite you to be part of a consolidated festival that has been able to
navigate with pride the difficulties that constructing this emblematic space
for national culture entails, propitiating the democratization and access
to contemporary audiovisual art, from a city such as Valdivia, which has
collectively taken on this challenge.
palabras
18
2016 ha sido un ao de grandes desafos para el Centro Cultural de Promocin Cinematogrfica de Valdivia. Gracias a la adjudicacin de fondos
como el Otras Instituciones Colaboradoras del CNCA, se sumaron nuevos
miembros a nuestro equipo, creamos nuevas reas de trabajo y establecimos un programa de trabajo anual.
As es como Valdivia Ciudad Cine se ha transformado en uno de los
proyectos ms significativos del CPCV. Genera actividades semanales que
han consolidado nuestra audiencia en la Regin de Los Ros.
Porque consideramos que la descentralizacin es uno de nuestros
principales objetivos, potenciamos nuestro programa de itinerancias,
exhibiendo pelculas en colegios y sedes sociales de las 12 comunas de
la regin. Adems, realizamos la Convencin de Audiovisualistas del Sur
en Valdivia, donde asistieron actores relevantes de las Regiones de La
Araucania, Los Ros y Los Lagos.
Con un fuerte enfoque en la colaboracin e intercambio de conocimientos,
nace Kawin, instancia de trabajo en red y fomento de industrias creativas
que ha generado vnculos con diversos actores del pas.
Nuestro proyecto ms emblemtico, el Festival Internacional de Cine de
Valdivia, se consolida como el ms importante de Sudamrica, formando
parte de la matriz de desarrollo cultural y artstico de Chile. Ha logrado
constituirse como un referente para Latinoamrica, contando con un fuerte
respaldo de la industria audiovisual nacional.
Para seguir desarrollando nuestras lneas de accin, debemos generar
un modelo de gestin a largo plazo que permita hacer de la participacin
un instrumento para desarrollar proyectos; generar instancias de conversacin y debate que posibiliten compartir el conocimiento; fomentar
la colaboracin entre instituciones; y lograr el gran desafo de contar
con una infraestructura cultural de calidad, para poder acoger nuestra
programacin. Los invitamos a formar parte de este proyecto: las puertas
estn abiertas a todos.
[23] FICVALDIVIA
[23] FICVALDIVIA
19
words
2016 has been a year of great challenges for the Valdivia Cultural Center for
Film Promotion. Thanks to the adjudication of funds such as CNCAs Other
Collaborating Institutions, we added new members to the team, created new
areas of development, and established an annual work program.
Thus, Valdivia Cinema City has become one of our most significant
projects this year. It generates weekly activities that have consolidated our
audience in Los Ros Region.
Considering that decentralization is one of our main objectives, we
enhanced our traveling program, showing films at schools and community
centers in the 12 municipalities of the region. Also, we hosted the Convention
of Audiovisual Professionals in the South, with the presence of relevant
players from Regions La Araucana, Los Ros and Los Lagos.
With a strong focus on collaboration and the exchange of knowledge,
Kawin was born, an instance for networking and the promotion of the creative
industries, which has generated ties with numerous actors in the country.
Our most emblematic project, the Valdivia International Film Festival,
solidifies as the most relevant in South America, part of the cultural and
artistic development matrix in Chile. We have managed to become a reference point for Latin America, boasting the strong support of our national
audiovisual industry.
To maintain our lines of action, we must generate a long-term management model that allows to make participation an instrument for project
development; to generate instances for conversation and debate that permit
the exchange of knowledge; to promote collaboration between institutions;
and to achieve the great challenge that is having a quality cultural infrastructure to house our program. We invite you to become part of this project;
the doors are open to all.
20
palabras
[23] FICVALDIVIA
21
[23] FICVALDIVIA
words
A child walks into a film screening with his cat. The scene is not part of any
cinema script or joke; it actually happened in Los Castaos neighborhood,
in the small town of Mfil, at one of our festivals traveling shows. There, in
the areas community center, the kid felt so at home, he left the room to
fetch his cat and watch the film with him.
Taking cinema to the community has been, and always will be, a fundamental part of our project to turn FICValdivia into a yearlong festival, with
constant activity centered on Valdivia and Los Ros Region.
The next step is to make cinema a teaching tool present in the curricula,
to situate it in the education plan. Teaching film can be approached from the
artistic discipline itself, with its undeniable social component. Likewise, it
can be used within the classroom as a complement to the different subjects
that make up each study plan. For this reason, we are developing a pilot
program for one school in our city, in conjunction with Universidad Austral
de Chile and the Ministry of Education, which can allow us to move forward
on this road where cinema and education go hand in hand.
In harmony with our mission, we have created the section Citizen Voices,
an open and free instance where a series of personalities, from the world of
culture and politics, will dialog about the country we are building. Another
innovation is that both the Architecture and Arts Faculty and the Philosophy
and Humanities Faculty at Universidad Austral de Chile will host their own
sections, programmed by their own teachers. We are proud to be a festival
with a university origin, and our duty is to generate instances that contribute
to involve multiple sectors in the development of a better country.
In the name of the workers of the [23] Valdivia International Film Festival,
we welcome you to this citizen celebration and, just like the boy and his cat,
we invite you to make of our festival your home.
[23] FICVALDIVIA
23
words
FILMS DE
APERTURA &
CLAUSURA
OPENING & CLOSING FILMS
25
[23] FICVALDIVIA
CHILE, 2016
DUR 23 // FOR DIGITAL
D Leonardo Beltrn
P, G,
Pablo Greene
F Vicente Vergara
A Enrique Ortega
E Claudia Huaiquimilla,
Leonardo Beltrn
S Modos Estudios
M Raimundo Santander
I Mario Lorca
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
LEONARDO BELTRN
Director independiente de arte
y animacin 2D en Nio Viejo
estudio, su experiencia cubre series
de TV, videoclips, cortos y spots
publicitarios. Ha codirigido en dos
series chilenas exhibidas en Cartoon
Network LA y es director en dos
proyectos ganadores en los pitch de
MIFA, Annecy.
From the fields, deep and lacking, to Europe, far-off and aging, struggling
always advancing, even in her farewell so fleeting, Violeta Parra her arts
is showing, through her mishaps conceding.
A glimpse into the story of a woman who recovered folklore in a country
that forgets.
LEONARDO BELTRN N.
[@] produccionninoviejo@gmail.com
[t] +56 9 9124 3414
26
[23] FICVALDIVIA
CHILE, 2016
DUR 86 // FOR DCP
D, G
Ignacio Agero Piwonka
P Tehani Staiger, Viviana Erpel,
Amalric Depontcharra
F Gabriel Daz, Arnaldo
Rodrguez, David Bravo
E Sophie Frana
S Andrea Lpez, Mario Daz,
Fredy Gonzlez
premiere internacional
i n t e r n at i o n a l p r e m i e r e
DIRECTOR
IGNACIO AGERO
COMO ME DA LA GANA II
Como en 1985, hoy Ignacio Agero vuelve a interrumpir los rodajes de
cineastas, pero no para preguntarles lo que preguntaba hace treinta
aos, sino para saber qu es lo propiamente cinematogrfico en lo que
filman. Estas conversaciones se relacionan con imgenes del archivo
personal del director, como si lo verdaderamente cinematogrfico
estuviera en aquello que no se hizo para el cine.
Just like in 1985, today Ignacio Agero is back interrupting filmmakers
during shooting, but not to ask what he did thirty years ago, but to find
is truly cinematographic was found among bits that were never made
AGERO Y ASOCIADO
TEHANI STAIGER
Huelen 71 Of. 3.
Providencia, Chile
[@] tehani@tehani.cl
[t] +56 9 6844 1599
27
[23] FICVALDIVIA
BLGICA, 2016
DUR 42 // FOR DCP
D, G, P
Boris Lehman
F Antoine Meert
E Ariane Mellet
S Luc Remy, Eric Dumont,
Juliette Achard
I Boris Lehman, Sanaz Azari,
Phill Nieblock, Dominique
Loreau, Sven Augustijn,
Nadine Wandel
premiere internacional
i n t e r n at i o n a l p r e m i e r e
DIRECTOR
gets carried away, to the point that both are clearly telling Boris to stop
DOVFILM
BORIS LEHMAN
[@] lehman.boris@gmail.com
[t] +00 3248 628 8345
EN COMPETENCIA
IN COMPETITION
31
32
[23] FICVALDIVIA
JURADO JURY
GUSTAVO FONTN
Escritor, docente y realizador cinematogrfico
argentino, Fontn obtuvo el ttulo de Licenciado
en Letras en la Universidad de Buenos Aires. Es
guionista y director de El Limonero Real (2016),
El Rostro (2014), La Orilla que se Abisma (2008)
y El rbol (2006), entre otras. Sus pelculas
ha recibido numerosas distinciones y se han
exhibido en importantes festivales. En 2014, el
Festival Internacional de Cine UNAM (Mxico)
celebra una retrospectiva de su obra.
RACHAEL RAKES
Es programadora de la Film Society de Lincoln
Center y cofundadora del festival Art of the
Real. Tambin es coeditora de la seccin de
cine de Brooklyn Rail y editora de Verso Books.
Rachael ha escrito crtica para mltiples
publicaciones y actualmente escribe, junto a
Leo Goldsmith, un libro sobre Peter Watkins,
el que recibe en 2014 la Beca para escritores
Creative Capital/Warhol Foundation. Entre 2010
y 2013, es curadora asistente del Museum of
the Moving Image.
33
[23] FICVALDIVIA
CHILE-ARGENTINA, 2016
DUR 86 // FOR DCP
D Pepa San Martn
G Pepa San Martn,
Alicia Scherson
P Macarena Lpez,
Marianne Mayer-Beckh
F Enrique Stindt
E Soledad Salfate
S Vctor Tendler
M Ignacio Prez Marn
premiere chilena
chilean premiere
RARA
I Mariana Loyola,
Julia Lbbert, Emilia
Ossandn,Agustina Muoz,
Coca Guazzini, Daniel
Muoz, Sigrid Alegra
DIRECTOR
nical aspect and also in terms of acting: long sequences coincide with
acting moments full of intimacy, in this strange family of two women,
and the daughters of one of them, who must begin the legal struggle for
the girls tuition. The coexistence of both these elements is also a way
of juxtaposing the denouncement of the rules in an unfair country, with
the hope that these beautiful characters transmit. Thus, with elegance,
by gonzalo maza
MANUFACTURA
PELCULAS
MACARENA LPEZ
MARIANNE MAYER-BECKH
34
[23] FICVALDIVIA
DINAMARCA, 2016
DUR 82 // FOR DCP
D Estephan Wagner, Moritz
Siebert, Abou Bakar Sidib
G Estephan Wagner, Moritz
Siebert
P Final Cut For Real
F Abou Bakar Sidib
E Estephan Wagner
S Abou Bakar Sidib
I Abou Bakar Sidib
DIRECTOR
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
LES SAUTEURS
Filmar la cotidiana supervivencia de los refugiados: Europa sigue
estando demasiado lejos de frica por ms que hayan slo tres vallas
de distancia. Y el maliense Abou Bakar Sidib es quien representa esa
impotencia a manera de bitcora cinematogrfica. El monte Gurug,
en Marruecos, es el escenario de una convivencia pasajera entre
individuos que habitan ese limbo geopoltico. Ms all del registro
antropolgico y la sentida reflexin autobiogrfica, Les Sauteurs escenifica un fidedigno microcosmos de cmo opera an la hegemona
To film the refugees daily struggle for survival: Europe is still too far from
Africa, even if its only three hurdles away. Malian Abou Bakar Sidib
renders that impotence by way of a film log. Mount Gurug, in Morocco,
is the stage for the fleeting coexistence among individuals that inhabit
that geopolitical limbo. Beyond the anthropological, and a heartfelt
autobiographical reflection, Les Sauteurs makes a faithful microcosmic
portrayal of how western hegemony still operates on the others.
WIDE HOUSE
DOUNIA GEORGEON
[@] festivals@widehouse.org
[t] +33 1 5395 0464
35
[23] FICVALDIVIA
ECUADOR, 2016
DUR 66 // FOR DCP
D, F
Alexandra Cuesta
P Alfredo Mora Manzano,
Alexandra Cuesta,
Micaela Rueda
E Pablo Mazzolo, Alexandra
Cuesta
S Xavier Muller
premiere chilena
chilean premiere
DIRECTOR
TERRITORIO
Territorio revela a una cineasta que se reconoce a travs de los espacios
donde reposa la mirada. Espacios y gentes extraas, mas no ajenas,
son retratadas sutilmente por la curiosidad cinematogrfica de Cuesta,
como si fueran paisajes humanos que ocultan entre sus siluetas el
secreto de su sensibilidad, no slo para observar sino esencialmente
para estar, para ocupar el espacio incluso desde el fuera de campo.
Territorio se compone de fragmentos exploratorios de una cineasta
ecuatoriana descubriendo visualmente el Ecuador que no conoca y
esa brecha de empata se manifiesta con fragilidad y pudor.
por john campos gmez
ALEXANDRA CUESTA
Cineasta y artista visual
ecuatoriana, Cuesta vive y trabaja
entre EEUU y Ecuador. Su obra
combina cine experimental y
antropologa visual, con nfasis
en consideraciones formales del
formato de 16 mm, en films que a
menudo se construyen a partir del
espacio, un proceso asociativo y la
improvisacin.
Ecuadorian filmmaker and visual
artist, Cuesta lives and works
human landscapes that hide among their silhouettes the secret of their
sensibility, not only to observe, but essentially to be, to occupy the space,
she did not know before, and that breech of empathy is manifest with
improvisation.
ALEXANDRA CUESTA
[@] alexandracuestamora@gmail.com
[t] +001 67 422 0335
36
[23] FICVALDIVIA
FRANCIA, 2016
DUR 42 // FOR DCP
D, G
Dania Reymond
P Sandra da Fonseca, Camille
Chandellier
F Julien Guillery
E Dania Reymond, Franoise
Tourmen
S Thomas Fourel
I Samir El Hakim, Sonia Amori
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
DANIA REYMOND
El trabajo de la argelina Reymond ha
sido exhibido en diversos festivales
de cine, incluyendo FID Marseille,
San Sebastin, New Directors New
Films Festival y el Festival Ct Court
at Pantin. Estudia cine en la Escuela
de Bellas Artes y el Estudio de Artes
Contemporneas Le Fresnoy, en
Francia.
The work by Algerian Reymond
has shown at several film festivals
especial family bond develops, where the problems in the fiction slowly
medium-length that at the same time does not avoid the wounds the
civil war produced in the African country. The Trial Garden is a beautiful
and fragile essay about the search for shelter and the love for cinema.
by ral camargo
BLUE MONDAY
PRODUCTIONS
224 rue Saint Denis 75002
Paris, Francia
CHLO ORTOL
[@] bluemonday@bluemonday.fr
[t] +33 1 4277 5631
37
[23] FICVALDIVIA
GEORGIA-ALEMANIA, 2016
DUR 74 // FOR DCP
D, G, F
Salom Jashi
P Urte Amelie Fink, Salom
Jashi, Gregor Streiber
E Derek Howard
I Dariko Beria, Kakha
Kvaratskhelia
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
SALOM JASHI
Jashi tiene un Magster en Cine
documental. Uno de sus filmes
estudiantiles fue exhibido en la
Galera Nacional de Retrato, parte
de una discusin sobre el autoretrato. Es jurado en el Festival
de Cortos de Noruega 2007.
Actualmente trabaja en varios
proyectos y es fundadora de la
productora Sakdoc Film, dedicada
al documental.
Jashi holds a Masters in
Documentary film. One of her
student movies was screened in
mera, whether in the obituaries, with the arrival of a giant owl, or during
of a discussion on self-portrait.
by isabel orellana
SYNDICADO
ALEKSANDAR GOVEDARICA
[@] aleksandar@syndicado.com
38
[23] FICVALDIVIA
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
THE NINE
Mediante una imagen digital, saturada y fragmentada, Katy Grannan
compone un mosaico documental sobre uno de los barrios ms abandonados de California, EEUU. Habitado por prostitutas, drogadictos
y ancianos, el film tal como sus habitantes lucha en el borde
de lo real y sus propias fantasas. El ro que baja desde Los ngeles
viene repleto de desechos y objetos descartados, y viendo a quienes
se sumergen en l, el film ejecuta un duro y brillante relato sobre los
olvidados del American Dream.
por isabel orellana
KATY GRANNAN
Katy Grannan es una fotgrafa y
cineasta de California. Llam la
atencin inicialmente gracias a una
serie de retratos ntimos de extraos
que conoci a travs de anuncios en
el diario. Sus fotos son parte de las
colecciones de importantes museos
estadounidenses (MET, MoMA). The
Nine es su primer largo.
Through a fragmented and saturated digital image, Katy Grannan composes a documentary mosaic around one of the most neglected neigh-
people, the film just like its characters struggles on the verge of the
real and their fantasies. The river that runs down from Los Angeles comes
full of waste and discarded objects, and watching those that dive in it,
the film makes a hard and brilliant testimonial about those left behind
by isabel orellana
13TH GEN
MARC SMOLOWITZ
[@] marcsmolowitz@gmail.com
[t] +1 415 370 0434
39
[23] FICVALDIVIA
FRANCIA, 2016
DUR 71 // FOR DCP
D Damien Manivel
G Damien Manivel,
Isabel Pagliai
P Damien Manivel,
Thomas Ordonneau
F Isabel Pagliai
E William Laboury
S Simon Apostolou,
Arnaud Marten, Jrme Petit
I Naomie Vogt-Roby,
Maxime Bachellerie,
Sessouma Sobere
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
LE PARC
Es posible volver sobre tus propios pasos, retroceder en el tiempo
y dejar de hacer aquello que en el presente te causa dao? Damien
Manivel explora brillantemente esta posibilidad, situando a una pareja
DAMIEN MANIVEL
can also turn into the first great disillusion. Manivel plays within that
space, mixing tenderness with the pathetic, comedy and the sinister,
confirming the director of A Young Poet as one of the most potent new
visions in current cinema.
by ral camargo
COSIMO SANTORO
[@] cs@theopenreel.com
[t] +0039 34 0494 0351
40
[23] FICVALDIVIA
BOLIVIA-QATAR, 2016
DUR 80 // FOR DCP
D Kiro Russo
G Kiro Russo,
Gilmar Gonzles
P Kiro Russo, Pablo Paniagua,
Gilmar Gonzles
F Pablo Paniagua
E Kiro Russo, Pablo Paniagua
S Marcelo Gutirrez,
Gilmar Gonzles
I Julio Cezar Ticona Tortus,
Narciso Choquecallata,
premiere chilena
chilean premiere
DIRECTOR
VIEJO CALAVERA
Revestida de ficcin, Viejo Calavera nos arrastra hacia las minas de
Huanuni para hacernos vivir su oscuridad y sentir su aspereza. Pero
adems omos sus ecos, los chirros de las mquinas que la penetran
y los jadeos de las personas que la trabajan. El viaje inicitico de Elder
Mamani es slo una delgada lnea narrativa que atraviesa el lgubre
retrato cinematogrfico de este pueblo obrero. El argumento es una
excusa para adentrarse en un espacio inclemente, pero que late. Viejo
Calavera es una pelcula de autora colectiva: presenta incluso con el
sindicato de mineros en los crditos.
por john campos gmez
KIRO RUSSO
Director productor y guionista
Kiro Russo nace en La Paz,
Bolivia y estudia direccin en la
Universidad del Cine de Buenos
Aires. Realiza los cortometrajes
Enterprisse (2010), Juku (2012)
y Nueva Vida (2015), por los que
recibe premios en importantes
festivales, como Locarno,
San Sebastian e IndieLisboa.
Viejo Calavera es su primer
largometraje.
echoes, the screeches of the machines penetrating them, and the gasping
a thin narrative line that traverses through the gloomy filmic portrait of
this working town. The plot becomes an excuse to delve into an inclement
space that still beats. Viejo Calavera is a collective piece: even the miners
union is listed in the credits.
SOCAVN CINE
KIRO RUSSO
[@] kirorusso@gmail.com
[t] +591 2241 1766
41
[23] FICVALDIVIA
ARGENTINA-BRASILPORTUGAL, 2016
DUR 97 // FOR DCP
D, G
Eduardo Williams
P Violeta Bava, Rosa Martnez
Rivero, Jernimo Quevedo,
Victoria Marotta, Rodrigo
Teixeira, Rodrigo Areias
F Joaquin Neira, Julien
Guillery, Eduardo Williams
E Alice Furtado, Eduardo
Williams
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
EDUARDO WILLIAMS
The film follows three groups of young people, from Argentina, Mozambique and The Philippines, over their free time. Work is not the determining
factor in their lives, even if its an issue for them. Technology relates
them, as does nature, two polar opposites that do not stop producing,
in their anthills and their electronics factories. The youngsters seem to
be joined by a strange search for movement against the lethargy of a
chaotic and unpredictable world, which Williams follows like fiber optics.
by isabel orellana
RUDA CINE
MNICA PREZ
[@] festivales@rudacine.com.ar
[t] +54 11 4553 1258
42
[23] FICVALDIVIA
CHILE-FRANCIA, 2016
DUR 86 // FOR DCP
D, G
Christopher Murray
P Augusto Matte, Thierry
Lenouvel
F Inti Briones
E Andrea Chignoli
S Claudio Vargas
M Alexander Zekke
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
EL CRISTO CIEGO
DIRECTOR
Esta pelcula transita por dos territorios: uno es el territorio flmico de la
pampa nortina, la amplitud de un espacio polvoriento poblado de seres
olvidados en un limbo de incomprensin. El otro territorio es el de la
parbola, el mensaje mstico que conduce a algn tipo de profeca, y que
en este caso es encarnado en Michael, quien emprende un peregrinaje
de salvacin de sus pares. Que los habitantes de un territorio transiten
a otro es la tarea de Michael, pero tambin la de Christopher Murray
con sus espectadores. Y ambos lo ejecutan con maestra y devocin.
por gonzalo maza
This film traverses over two territories: one is the cinematographic terrain
of the northern pampa, the expanse of a dusty space inhabited by forgotten
beings in a limbo of incomprehension. The other territory is the parable,
CHRISTOPHER MURRAY
Murray realiza el largo Manuel de
Ribera, Mejor Pelcula Nacional
en SANFIC 2010. Es director
general del documental colectivo
Propaganda, galardonado como
Mejor Documental en los Premios
Pedro Sienna 2014 y Premio del
Jurado en Visions du Rel del
mismo ao.
that mystical message that drives to some sort of prophecy, which in this
his peers. It is Rafaels task that the inhabitants of one territory move to
another, but the job also falls to Murray and his spectators. All of them
execute this task with mastery and devotion.
by gonzalo maza
JIRAFA
IVONNE WILHELM
[@] ivonne@jirafa.cl
[t] +56 63 221 3556
43
[23] FICVALDIVIA
FRANCIA, 2016
DUR 83 // FOR DCP
D, E
Jean-Gabriel Priot
G Jean-Gabriel Priot,
Yoko Harano
P Nicolas Brevire
F Denis Gravouil
S Dana Farzanehpour, Xavier
Thibault, Laure Arto-Toulot
M Xavier Thibault
I Hiroto Ogi, Akane Tatsukawa,
Yuzu Horie, Keiji Izumi,
Mamako Yoneyama
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
LUMIRES DT
Luego de un fuerte testimonio sobre el da que cay la bomba atmica
sobre Hiroshima, narrado por una sobreviviente, vemos a Akihiro, un
director que debe realizar un film para el 70 aniversario del acontecimiento, nublado por la crudeza del relato. Pero al tomar un descanso,
el hombre se distrae con una ingenua y simptica joven local, que lo
lleva por la ciudad. Este nuevo largo de Jean-Gabriel Periot aparece
como una luz sobre la pesadez de la historia, una suerte de homenaje
amoroso a quienes vivieron el horror de lo humano y a esas vidas que
no se pudieron llevar a cabo.
por isabel orellana
After a strong testimonial about the day the atomic bomb fell on Hi-
JEAN-GABRIEL PRIOT
Los filmes de Jean-Gabriel
se han exhibido y han sido
premiados alrededor del globo.
Ha desarrollado un estilo nico
de montaje en base al material
de archivo, en obras que desafan
las fronteras entre documental,
animacin y experimental. En 2012,
FICValdivia celebr la primera
retrospectiva de su trabajo en el
mundo.
film for the 70th anniversary of the event, downcast by the harshness
of the tale. But, during a break, the man is distracted by a nave and
jovial young woman, who leads him around town. This new feature by
Jean-Gabriel Periot appears as a light over the heaviness of history, a
kind of loving tribute to those that lived the horror of humanity, and to
by isabel orellana
LOCAL FILMS
NICOLAS BREVIERE
[@] localfilms@free.fr
[t] 33 1 4493 7359
44
[23] FICVALDIVIA
MXICO, 2016
DUR 64 // FOR DCP
D, G, P
Pablo Escoto
F Jess Nez
E Salvador Amores
S Cooper Gillespie, Pablo Escoto
I David Grande, Salvador Parra,
Francisco Eustaquio Zrate,
Vctor Ramn Jimnez, Lorenzo
Rodrguez, Anglica Gonzlez,
Fernanda Gonzlez
premiere mundial
world premiere
DIRECTOR
RUINAS TU REINO
Salir. Alejarse del lugar de dnde uno es, para mirar a lo(s) otro(s)
con diferente perspectiva: quizs sesgada, quizs ingenua, quizs
penetrante o quizs distante, todas vlidas si es que no las conduce
el prejuicio o la frivolidad. En Ruinas Tu Reino, eso otro es el Golfo de
Mxico y aquellos otros son los pescadores que lo navegan. Pablo
Escoto no se conforma con slo contemplar ese espacio ajeno, sino
que agita su propia mirada con rfagas de experimentacin, impulsiva y
potica, en pos de apropirselo y transfigurarlo. Esto es salir del centro
para buscar un nuevo ncleo, un nuevo mirador.
por john campos gmez
PABLO ESCOTO
Oriundo de Ciudad de Mxico,
Pablo Escoto vive actualmente en
Buenos Aires. Su trabajo anterior,
Cartas a Barcelona (2014), fue
exhibido internacionalmente en
festivales como Transcinema
Festival Internacional de Noficcin (Per) y centros como
Anthology Film Archives (EU).
Ruinas Tu Reino es su primer
largometraje.
Go out. Get away from the place one is from, to look at the other(s)
frivolity. In Ruinas Tu Reino, that other is the Gulf of Mexico and those
others are the fishermen that sail it. Pablo Escoto is not happy to just
contemplate this alien space, but agitates his own gaze with barrages
transform it. This is getting away from the center to find a new hub, a
ROS DE NUEVA
PABLO ESCOTO
[@] pabloescotoluna@gmail.com
[t] +5255 5215 1335
45
JURADO JURY
PABLO CONDE
Programador del Festival de Cine de Mar del
Plata desde 2009, Conde es cofundador del sitio
web Encerrados Afuera, redactor de la revista
Los Inrockuptibles y vicepresidente del Cineclub
Ushuaia, en Tierra del Fuego. Tras recibirse de
Montajista, trabaja en televisin como editor,
guionista, productor y locutor. Adems, es
co-programador del ciclo Generacin VHS en
el Museo de Arte Latinoamericano de Buenos
Aires (Malba) y co-autor del libro Cine Bizarro y
Fantstico HispanoArgentino.
JAMES LATTIMER
Lattimer es curador, crtico de cine y cineasta,
con base en Berln. Comienza a trabajar para el
Forum de la Berlinale en 2008, pasando a ser
miembro de su comit de seleccin en 2011.
Su prosa ha sido publicada en Slant Magazine,
The Notebook de MUBI, Film Parlato, Senses of
Cinema, y desistfilm. Su corto All Still Orbit, una
colaboracin con Dane Komljen, se estrena en
competencia en Rotterdam 2016 y se exhibe en
el festival Art of the Real, de la Film Society de
Lincoln Center, en Nueva York.
47
[23] FICVALDIVIA
CHILE-ESPAA, 2016
DUR 73 // FOR DCP
D, F, E
Carlos Vsquez Mndez
G Joana Castell Palou,
Carlos Vsquez Mndez
P Obrador La Faz
S Linda Sonego Greenway,
Amanda Villavieja Garcia,
Carlos Vsquez Mndez
M Amanda Irarrzabal Elliott
I Segundo Neipn Pitruqueo,
Mario Neipn Pitruqueo,
Claudio Vsquez Mndez
premiere chilena
chilean premiere
[PEWEN] ARAUCARIA
DIRECTOR
OBRADOR LA FAZ
Santiago, Chile.
[@] obradorlafaz@gmail.com
[t] +56 2 2891 8997
48
[23] FICVALDIVIA
CHILE, 2016
DUR 63 // FOR DCP
D Ricardo Villarroel
G Sebastin Saavedra, Ricardo
Villarroel
P Sebastin Gonzlez
F Alejandro Cordero
E Melisa Miranda
S Sebastin Saavedra
M Rodrigo Gonzlez
premiere mundial
world premiere
DIRECTOR
PASTORA
Un recorrido por el tiempo, la memoria y la experiencia de mujeres
aymaras del altiplano andino chileno: con el pasar del da reflexionan
sobre la maternidad, vida y muerte, en estas tierras abandonadas
a 4000 metros sobre el nivel del mar, donde el pastoreo de llamas y
alpacas es el nico sustento en un mundo en retirada.
A tour around the time, memory and experience of Aymara women in
the Chilean High Plateau: With the passage of the day, they reflect on
maternity, life and death, in these abandoned land at 4,000 meters above
sea level, where tending llamas and alpacas is the only sustenance, in
a world on decline.
RICARDO VILLARROEL
Ricardo Villarroel es licenciado
en Historia, pedagogo y magster
en Cine Documental de la
Universidad de Chile. Ha dirigido
diversos cortometrajes de ficcin
y documental y actualmente
estrena su opera prima Pastora
(2016) en el Festival Internacional
de Cine de Valdivia.
Ricardo Villarroel has a degree
in History; he holds a Masters
in and teaches Documentary
Cinema (Universidad de Chile). He
has directed multiple fiction and
documentary short films. He is
premiering his opera prima Pastora
(2016) at the Valdivia International
Film Festival.
MALTRATO PRODUCCIONES
Santiago, Chile.
[@] sebastian.gv.cl@gmail.com
[t] +56 9 9124 5015
49
[23] FICVALDIVIA
CHILE, 2016
DUR 89 // FOR DCP
D Claudia Huaiquimilla
G Claudia Huaiquimilla,
Pablo Greene
P Pablo Greene, Rebeca
Gutirrez Campos, Eduardo
Villalobos Pino
F Matas Illanes
E Valeria Hernndez
S Odin Acosta, Pablo Pinochet
M Miranda y Tobar
premiere mundial
world premiere
MALA JUNTA
DIRECTOR
CLAUDIA HUAIQUIMILLA
Directora de origen mapuche.
El rescate de sus races y los
traumas infantiles son temas que
trabaja desde su debut, el corto
San Juan (2012), Premio Pedro
Sienna 2013. Mala Junta, su pera
prima, recibe 3 premios WIP en
FICGuadalajara 2016.
Huaiquimillas is a filmmaker of
Mapuche origin. The recovery of
her roots and traumas during
childhood are topics she works
with since her debut, the short
San Juan (2012), Pedro Sienna
Award 2013. Mala Junta, her opera
prima, received 3 WIP prizes in
FICGuadalajara 2016.
PINDA PRODUCCIONES
[@] peliculamalajunta@gmail.cl
[t] +56 9 9919 9210
50
[23] FICVALDIVIA
CHILE, 2016
DUR 69 // FOR DCP
D, E
Nicols Videla
G Manu Guevara, Nicols
Videla, Sebastin Gonzlez
P Sebastin Gonzlez
F Sebastin Pose,
Nicols Videla
S Sebastin Gonzlez
M Santiago Jara, Martin Bruce
I Manu Guevara, Daniel Larrieu,
Viktor Philip
premiere mundial
world premiere
DIRECTOR
EL DIABLO ES MAGNFICO
Manu (33), inmigrante trans chilenx, cansadx de la hostilidad e inestabilidad en Pars, decide volver a Chile luego de diez aos en Francia.
En estos ltimos das recorrer distintas rutas que hablan de amor y
sexo. Daniel (57) le propondr retirarse juntos, casarse y resolver su
problema de papeles. Pero cuando Manu cree que su futuro quizs
no sea romntico sino filial, aparecer un viajero que devolver el
romanticismo a su vida.
Manu (33), a Chilean transsexual immigrant, tired of the hostility and
instability in Paris, decides to return to Chile after ten years in France. In
those final days, he will travel down different routes that speak of love
and sex. Daniel (57) will propose they retire together, get married and
resolve his/her paperwork issues. But when Manu believes his future may
not be romantic but filial, a traveler will show up to bring romanticism
back into his/her life.
NICOLS VIDELA
Videla es director, guionista
y montajista. Su opera prima
Naomi Campbel (2013) estrena en
FICValdivia (Mencin Especial del
jurado) y es merecedor de Mejor
Director Documental en Cinema
Tropical NY. Su segundo film, El
Diablo es Magnfico (2016) tendr
su premiere en FICValdivia 2016.
Videla is a director, scriptwriter and
film editor. His debut film Naomi
Campbel (2013) premiered at
FICValdivia (Special Jury Mention),
and received Best Documentary
Director at Cinema Tropical NY. His
second film, El Diablo es Magnfico
(2016) will debut at FICValdivia
2016.
MALTRATO PRODUCCIONES
Santiago, Chile.
[@] sebastian.gv.cl@gmail.com
[t] +56 9 9124 5015
51
[23] FICVALDIVIA
CHILE, 2016
DUR 67 // FOR DCP
D Constanza Figari
G Evelyn Rivera, Constanza Tejo
P Valentina Roblero Arellano
F Constanza Tejo
E Ignacia Matus
S Aural
M Milton Nez
I Paulina Moreno, Camilo
Carmona, Luz Croxato
premiere mundial
world premiere
DIRECTOR
7 SEMANAS
Inspirada en hechos reales: Camila, una joven universitaria de 23 aos,
estudiante de danza, queda embarazada. Luego que su entorno se
ilusiona con la llegada de un beb, Camila se da cuenta que no desea
ser mam y decide abortar. Ahora deber enfrentar las consecuencias
que le trae su decisin.
Inspired in real events: Camila (23), a young university dance student,
gets pregnant. After her circle become excited with the idea of a baby,
Camila realizes she doesnt want to be a mother, and decides to have an
abortion. Now, she must face the consequences her decision will bring.
CONSTANZA FIGARI
Constanza Figari escribe y dirige
los cortos Llamada (2010) y
Eugenia (2013), el que participa en
varios festivales, siendo premiado
en la competencia nacional de
FEMCINE4. 7 Semanas, su primer
largo, reafirma su inters en
representar a la mujer.
Constanza Figari wrote and directed
the shorts Llamada (2010) and
Eugenia (2013), which participated
in several festivals, and received
the national competition top prize
at FEMCINE4. 7 Semanas, her first
feature, reaffirms her interest in
representing women.
Santiago, Chile.
[@] vale.roblero@live.cl
[t] +56 9 9879 0232
52
[23] FICVALDIVIA
CHILE, 2016
DUR 82 // FOR DCP
D, G, P
lvaro de la Barra
F Carlos Vsquez, Inti Briones,
Jackson Elizondo
S Mario Puerto, Frank Rojas,
Juan Pablo Martnez, Felipe
Vergara
E Sebastin Seplveda, Martin
Sappia
premiere mundial
world premiere
VENAN A BUSCARME
DIRECTOR
Luego del golpe militar de Pinochet, mis padres militantes revolucionarios, murieron ejecutados en la esquina de mi jardn de infancia en una
emboscada. Yo crec en el exilio, clandestino y con la imagen heroica de
mis padres como pareja y como luchadores sociales. Ahora yo busco
recuperar mi identidad intentando as, conocerlos a ellos.
After Pinochets military coup, my parents militant revolutionaries
died executed in the corner of my childhood yard, in an ambush. I grew
up in exile, underground, with my parents heroic image as a couple and
as social fighters. Now I seek to recover my identity, and thus try to get
to know them.
LVARO DE LA BARRA
Exiliado chileno, ha sido director
de fotografa en diversos largos de
ficcin y documental. Sus ltimas
participaciones como fotgrafo y
productor son: Paralelo33 (2017)
de Carolina Larran, La ley (2013)
de Pablo de la Barra y como coproductor en La Familia de Gustavo
Rondn (Venezuela-Chile. Ibermedia).
Venan a Buscarme es su primer
largometraje.
A Chilean exile, has been DOP in
multiple fiction and documentary
full-lengths. His latest contributions
as cinematographer and producer are:
Paralelo33 (2017) by Carolina Larran,
La Ley (2013) by Pablo de la Barra,
and as co-producer in La Familia by
Gustavo Rondn (Venezuela-Chile.
Ibermedia). Venan a Buscarme is his
first feature film.
VILA FILMS
LVARO DE LA BARRA
Santiago, Chile.
[@] adelabarra1@gmail.com
[t] +56 9 7423 0713
53
JURADO JURY
MARA ALCH
Actriz y directora, cursa estudios de Cine en la
ENERC y Filosofa, en la Universidad de Buenos
Aires. Ha dirigido cortos como Quin se Meti
con Mayra? (2008), Noelia (2012) y Gulliver
(2015), los que han participado y sido premiados
en muestras y festivales como Best New Latin
American Films New York, Locarno, Rotterdam,
BAFICI, Milano, Indie Lisboa y Mar del Plata.
Actualmente prepara su primer largo como
directora, a filmarse a comienzos del 2017.
VERNICA ZONDEK
Poeta, traductora literaria y gestora cultural,
Zondek ha sido publicada en muchas y diversas
antologas de poesa en Chile y otros pases.
Ha incursionado en trabajos poticos visuales
y audiovisuales y ha trabajado en colaboracin
con pintores, grabadores y fotgrafos. Es
licenciada en Historia del Arte de la Universidad
Hebrea de Jerusaln y forma parte del comit
editorial de LOM Ediciones. Adems, realiza
talleres de incentivo a la lectura en distintos
espacios de Valdivia.
55
[23] FICVALDIVIA
CHILE, 2016
DUR 21 // FOR DCP
D Mario Horton Fleck
G Luis Barrales,
Mario Horton Fleck
P Constanza Majluf
F Andrs Garcs
E Andrea Chignoli
S Carlo Snchez
M Daniel Marabol
I Rodrigo Soto, Nathalia
Aragonese, Jorge Fuentes,
Dayani Vallesteros
EL HOMBRE AFICIONADO
Asistimos al recorrido de un hombre y su batalla silenciosa por comprenderse a s mismo y al mundo en el que est atrapado, junto con
DIRECTOR
M.A.R PRODUCCIONES
56
[23] FICVALDIVIA
CHILE, 2016
DUR 22 // FOR DIGITAL
D, G
Andrea Castillo
P Alejandra Rosales
F, E
Diego Cspedes
S Joan Vifara
M Camila Moreno
I Tuti Elissegaray, Octavio
Navarrete, Sabina Ojeda
NON CASTUS
DIRECTOR
Trinidad (42) y Camilo (21) deben arrendar una pieza en una antigua
casa en el sur de Chile para poder solventarse econmicamente tras
el abandono del padre de familia. En la intimidad de esta pequea
habitacin, conviviendo entre la soledad y la naturaleza, se transformar su relacin: una madre y su hijo, unidos por un remordimiento
de conciencia comn.
After her husband left her marred in financial difficulties, Trinidad takes
her 21-year-old son Camilo to southern Chile, where they move into an
old house. In the intimacy of this small space they share, surrounded by
nature and solitude, their relationship evolves: a mother and son united
by a common sense of guilt.
ANDREA CASTILLO
Estudiante de Cine y Televisin
de la Universidad de Chile, ha
escrito y dirigido los cortos Non
Castus (Mencin Especial en
Locarno) y Bilateral. Actualmente
asesora en el guin de un largo de
Victor Fajnzylber y Daniel Castro
(Historia de un Oso) y escribe su
primer largometraje Cerca del Ro.
A student of Film and TV at
Universidad de Chile, Castillo has
written and directed the shorts
Non Castus (Special Mention in
Locarno) and Bilateral. She is
script consultant on a feature
by Victor Fajnzylber and Daniel
Castro (Historia de un Oso), and
is also writing her first full-length
Cerca del Ro.
SANTSIMA
ALEJANDRA ROSALES
[@] arosalesmendez@gmail.com
[t] +56 9 8463 5163
57
[23] FICVALDIVIA
CHILE, 2016
DUR 20 // FOR DIGITAL
D, G
Lucas Quintana
P Laura Snchez,
Michelle Bossy
F Brbara Montaa
E Lucas Quintana,
Michelle Bossy
S Constanza Cortez
M Milton Nez
DIRECTOR
HEMOSESTADOPEOR
Desde pequeo, Csar dese morir a los veintisiete aos, al igual que
aquel infame club de estrellas. Sin embargo, cuando se entera de que
tiene cncer terminal antes de cumplirlos, comienza a cuestionarse
si estuvo bien haberlo deseado tanto.
LUCAS QUINTANA
Since he was little, Csar has wished to die at twenty-seven, like that
infamous club of celebrities. However, when he finds out he has terminal
cancer before the fated birthday, he begins to wonder maybe he wished
for it too much.
RSILIENCE
LUCAS QUINTANA
[@] deadkidfilms@gmail.com
[t] +56 9 7136 0246
58
[23] FICVALDIVIA
BOLIVIA, 2015
DUR 15 // FOR DCP
D, G, E
Carlos Pieiro
F Pablo Paniagua
S Kiro Russo
M David Arce
I Zenn Machaca, Mnica
Bonifacio, Junior Da Silva
premiere chilena
chilean premiere
DIRECTOR
AMAZONAS
Celestino parte desde los Andes hacia Brasil, en busca de nuevas oportunidades, pero no puede llegar a su destino. El migrante se queda en
la frontera y es conminado a trabajar en la nica lavandera del lugar,
donde el cautiverio le revela el verdadero valor de su libertad.
Celestino starts out from the Andes to Brazil, in search for new opportunities, but he cant arrive at his destination. The migrant is forced to stay
in the border and work at the only laundry shop in town, where captivity
reveals the true value of his freedom.
CARLOS PIEIRO
Nacido en La Paz, Bolivia, dirige
los cortometrajes: Martes de
Challa (2008), Max Jutam (2010)
y Plato Paceo (2013), por
los que cosecha importantes
premios en los circuitos nacional
e internacional. Amazonas (2015)
es su ltimo trabajo a la fecha.
Born in La Paz, Bolivia, Pieiro
has directed the short films:
Martes de Challa (2008), Max
Jutam (2010) and Plato Paceo
(2013), for which he collected
important awards at national and
international circuits. Amazonas
(2015) is his latest short to date.
CARLOS PIEIRO
[@] caiquecerreiro@gmail.com
59
[23] FICVALDIVIA
ARGENTINA, 2016
DUR 14 // FOR DIGITAL
D, G, P, F, E
Fernando Restelli
S Francisco Fantin
premiere chilena
chilean premiere
DIRECTOR
MERODEO
Una mirada personal sobre la estigmatizacin que producen las fuerzas policiales y el estado, en la actual arremetida xenfoba. A travs
de material de archivo encontrado, la pelcula establece un mapa del
monitoreo social disponible en Internet, mientras sigue el recorrido
de dos merodeadores a travs de la noche. Uno de ellos seguramente
ser detenido.
A personal view of the stigmatization that police forces and the state
produce, during the current xenophobic rush. Through found footage,
FERNANDO MARTN
RESTELLI
Productor y realizador argentino
en Periferia Cine, ha realizado
dos cortos: Tiro Libre (2015) y
Merodeo (2016). Participa con su
largo en proceso Construcciones
(2016) en DocMontevideo 2016,
donde recibe una Mencin
Honrosa IDFA y el TransLAB 2015.
PERIFERIA CINE
FERNANDO RESTELLI
[@] periferiacine@gmail.com
[t] +549 35 1746 9695
60
[23] FICVALDIVIA
PER-ESPAA, 2016
DUR 6 // FOR DCP
D, G, F, E, S
Carmen Rojas Gamarra
P Blanca Segura Dulanto,
Natalia Rojas Gamarra
premiere chilena
chilean premiere
DIRECTOR
VACO/A
Vaco(a) es una pieza experimental que habla sobre una ruptura sentimental, contada a travs de un catlogo de IKEA. Qu pasa con los
objetos una vez comprados? A qu personas llegan y de qu historias
empiezan a ser parte?
Vaco(a) is an experimental piece that speaks of a sentimental breakup,
told through an IKEA catalog. What happens with the objects, once bought?
What people do they arrive to, and what stories do they become a part of?
[@] yuraqyana@gmail.com
[t] +346 3427 0234
61
[23] FICVALDIVIA
BRASIL, 2016
DUR 11 // FOR DCP
D, G, F, E, S
Manoela Ziggiatti
P Max Eluard
premiere chilena
chilean premiere
DIRECTOR
O VOO
A los 3 aos, Vitor se pone su capa; est listo para volar. En un dilogo
entre la madre y el nio, somos testigos del nacimiento de la conciencia
del nio. El amor media en el pasaje entre el mundo infinito del deseo
y la fantasa y el mundo finito de la racionalidad. El amor es capaz de
conectar estos dos mundos para no volver a separarlos. Todo lo que
se vuelve posible tras esa conexin es casi igual a lo que llamamos
imposible.
At three, Vitor puts on his cape; he is ready to fly. In a dialog between mother
MANOELA ZIGGIATTI
Documentalista graduada de la
EICTV, Cuba, en 2012, estrena
su primer largo documental
Pulsaciones en el Festival de
Guadalajara. Desde 2005, es
socia de Avoa Filmes, en So
Paulo, donde trabaja como
directora y montajista.
and son, we are witnesses to the birth of awareness in the child. Love
mediates the passage between the infinite world of desire and fantasy,
Documentary filmmaker
and the finite world of rationality. Love is capable of connecting those two
AVOA FILMES
MAX ELUARD
[@] maxeluard@gmail.com
[t] +55 11 5461 2492
62
[23] FICVALDIVIA
BRASIL, 2016
DUR 16 // FOR DCP
D, G, P
Deborah Viegas
F Pedro Geraldo
E Deborah Viegas,
Fernando Lopes
S Aloisio Araujo
premiere chilena
chilean premiere
DIRECTOR
DEBORAH VIEGAS
Proveniente de Minas Gerais,
Brasil, ha dirigido los cortos
Kyoto (2014), So Paulo com
Daniel (2015) y A Casa Cinza e as
Montanhas Verdes. Estos filmes
se han presentado y laureado en
festivales como Rotterdam, Ficci,
Rio de Janeiro y Toulouse.
Hailing from Minas Gerais, Brazil,
Viegas has directed the shorts
Kyoto (2014), So Paulo com
Daniel (2015) and The Grey House
and the Green Mountains. These
films have screened and received
distinctions in festivals such as
Rotterdam, Ficci, Rio de Janeiro
and Toulouse.
DEBORAH VIEGAS
[@] deborahtviegas@gmail.com
63
[23] FICVALDIVIA
ARGENTINA, 2015
DUR 4 // FOR DIGITAL
D Flavia de la Fuente
P Quintn
premiere chilena
chilean premiere
DIRECTOR
ESMERALDA
El proyecto NIMBOS es un homenaje colectivo en imgenes al poeta
gallego Xos Daz Castro. A la directora le propusieron hacer una pe-
FLAVIA DE LA FUENTE
gallega como Daz Castro y porque lo que filma todos los das se adapta
perfectamente a Esmeralda. En el juego de luces y sombras del film
se descubre, de pronto, a su pequea y encantadora protagonista.
The NIMBOS project is a collective tribute in images to the Galician poet
Xos Daz Castro. They asked the director whether she could make a
film based on one of his poems, and she already had it, because she is
Galician like Daz Castro, and also, because what she shoots every day
SOLITA FILMS
QUINTN
64
[23] FICVALDIVIA
CHILE-ESTADOS UNIDOS,
2016
DUR 19 // FOR DCP
D, G, E
Francisca Alegra
P Forastero, Jirafa, Birgit
Gernbck
F Matas Illanes
S Claudio Vargas
M Jos Ignacio Bada
I Shenda Romn, Catalina
Saavedra, Luis Dub,
Gregory Cohen
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
FRANCISCA ALEGRA
Communication at Universidad
Catlica and recently received her
MFA in Film Script and Direction
from Columbia University.
FORASTERO
FRANCISCA BARRAZA
[@] francisca@forastero.cl
[t] +56 9 8120 9115
65
[23] FICVALDIVIA
CHILE, 2016
DUR 16 // FOR DCP
D, G
Samuel Gonzlez
P Samuel Gonzlez, Carlos Tampe
F, E
Pablo Nualart
S Javier Neira
I Cristin Celis, David
Velsquez, lvaro Casanova,
Antonia Daz, Rodolfo Lpez
premiere mundial
world premiere
DIRECTOR
CULIAOS
Es el ltimo da de clases en un liceo. Al entregar las notas finales,
Mardones le reclama al profesor un error en la evaluacin de su examen.
SAMUEL GONZLEZ
ACCIN FICTICIA
SAMUEL GONZLEZ
[@] samuelgonzalezvera@gmail.com
[t] +56 9 9122 1888
66
[23] FICVALDIVIA
CHILE, 2016
DUR 12 // FOR DCP
D, G
Marisol Cumsille
P Marisol Cumsille, Jos Miguel
Matamala, Rodrigo Guerra
F Carlos Vargas
E Ilan Stehberg
S Alejandro Contreras
M Vafe Jhous
I Valentina Vargas, Mota
Crdenas, Marcela Baraona
premiere mundial
world premiere
DIRECTOR
MARISOL CUMSILLE
Poeta, amante del rock y de la
fotografa, Cumsille es directora
de cine formada en Valdivia.
Su primer corto El Secreto
de Sergio ha participado en
Mxico, Canad, Grecia, India,
Argentina, Brasil y Chile. Ha
trabajado en diversos proyectos
audiovisuales destacando
Chacal Contra el Tiempo y Los
Ros Eduka.
Cumsille is a poet and an
enthusiast of rock music and
photography. She trained as
director in Valdivia. Her first
short El Secreto de Sergio has
participated in Mexico, Canada,
Greece, India, Argentina, Brazil
and Chile. She has worked in
several audiovisual projects,
including Chacal Contra el
Tiempo and Los Ros Eduka.
ARTISTAS FELICES
[@] info@artistasfelices.com
[t] +56 9 9457 4074
67
[23] FICVALDIVIA
69
CHILE, 2016
DUR 6 // FOR DIGITAL
D, G, P, F, E, S, M
DIRECTOR
TALLER DE
VIVIENNE BARRY
Llorona.
VIVIENNE BARRY
[@] vivienne.barry@gmail.com
70
[23] FICVALDIVIA
CHILE, 2016
DUR 2 // FOR DIGITAL
D Claudia Sanhueza, Marcelo Daz
G, P, F, E, S, M, I
Taller Audiovisual Campamento
Pichikeche
premiere mundial
world premiere
MAX EL AVENTURERO
En un rea azotada por la sequia, Max, un perro valiente, enfrentar al
malvado que se est robando el agua de su comunidad.
In an area ravaged by drought, Max, a brave dog, will face the evil man
that is stealing the water from his community.
DIRECTOR
CAMPAMENTO
CINEMATOGRFICO
PICHIKECHE
Este trabajo fue realizado en un
taller de animacin Stop Motion
del Campamento Cinematogrfico
Pichikeche 2016, en la comuna de
Lanco, sur de Chile. Durante una
semana, los estudiantes aprendieron
del lenguaje audiovisual y realizaron
este corto.
This piece was made in a stop motion
animation workshop, part of the
Pichikeche Film Camp 2016, in the
municipality of Lanco, southern Chile.
For a week, kids learned about the
audiovisual language and produced
this short film.
ORGANIZACIN COMUNITARIA
MUNDO LIBRE
ROLANDO CARILEO
[@] carileo.nova@gmail.com
[t] +56 9 6310 5769
71
[23] FICVALDIVIA
CHILE, 2015
DUR 10 // FOR DIGITAL
D Alexis Recabal, Jael Durn,
Manuel Gutirrez
G Alexis Recabal, Byron
Fuentes, Fabin Provoste,
Matas Bastas, Jael Durn,
Brenda Campos, Sadoc
Lepilln, Jimmy Pino,
Manuel Gutirrez
P Luca Gajardo Villarroel
F Alexis Recabal, Sadoc
Lepilln, Manuel Gutirrez
M Vctor Aranda
DIRECTOR
ESCUELA PEHUN
En la produccin de este corto
participaron jvenes de edades
entre 10 y 12 aos, integrantes del
Taller de Cine de Escuela Pehun
2014 y 2015. Parte de la Red de
Cine Club Escolar, este taller
anual se realiza entre marzo y
diciembre, financiado con fondos
de Subvencin Escolar Preferencial.
Children ages 10 to 12 participated
in the production of this short film.
They are members of the Cinema
Workshop at Escuela Pehun 2014
and 2015. Part of the School Cinema
Club Network, this workshop takes
place every year between March
and December, financed with a
Preferential Schooling Grant.
ESCUELA PEHUN
[@] elnalcahuen@gmail.com
[t] +56 41 253 3179 +56 9 7951 9794
72
[23] FICVALDIVIA
CHILE, 2015
DUR 5 // FOR DIGITAL
D, E, S, M
Sebastin Soto lamos
G, P, F
Estudiantes del Taller
DIRECTOR
73
[23] FICVALDIVIA
CHILE, 2016
DUR 5 // FOR DIGITAL
D, G, P, F, E, S
EL CERDO EMPRESARIO
Tras inaugurar una fbrica de cecinas, un importante empresario sufre
DIRECTOR
un accidente automovilstico que lo lleva a tener una revelacin extraordinaria. Esta experiencia le har cuestionarse aspectos importantes
de su vida y entregar valores positivos para aplicar inmediatamente.
After opening a pork products factory, an important entrepreneur suffers
a car accident, giving him an extraordinary epiphany. The experience
will make him question important aspects in his life, providing positive
values to apply immediately.
STOP MOTION
IDEAS ANIMADAS
Este corto fue realizado por
adolescentes en el taller de
animacin Stop Motion Ideas
Animadas, impartido por la
monitora Pamela Barrios,
en el marco del 5 Festival
Internacional de Cine para Nios,
Nias y Adolescentes Ojo de
Pescado, agosto de 2016.
This short was made by teens in
the Ideas Animadas stop motion
animation workshop, taught by
Pamela Barrios, part of the 5th
Ojo de Pescado International Film
Festival for Boys, Girls and Teens,
in August 2016.
CORPORACIN CULTURAL
OJO DE PESCADO
ALEJANDRA
FRITIS ZAPATA
[@] corporacion@ojodepescado.cl
[t] +56 9 9530 2553
CINEASTAS
INVITADOS
GUEST FILMMAKERS
BILL MORRISON
c i n e a s ta i n v i ta d o
G u e st F i l m ma ker
[23] FICVALDIVIA
77
guest filmmaker
cineastas invitados
78
[23] FICVALDIVIA
Bill Morrison is one of the most renowned found footage filmmakers (movies made with
fragments of previous films). However, he is distinguished from other directors in his proclivity
to material from the beginnings of cinema, especially if it is in decomposition, which clearly
constitutes his signature as a filmmaker. There is beauty in the deterioration that time and
environmental conditions imprint on the images of old nitrate pictures: the decadence of
images that were originally innocent reveals them as disquieting in the spectacle of their
degradation. His cinema works as the archives of ruin, revealing the sinister side of a history
torn to shreds. The beauty of Morrisons rescued images is akin to the attraction to the abyss
Edgar Allan Poe spoke of, and frequently, it summons that fear Lovecraft characterized as one
of humans oldest emotions. Thus, the filmmaker brings us back to a primeval, uncertain time,
where what is visible becomes barely legible, where things begin to take form in a dynamic of
indecision that molds and remolds shapes struggling to find a place in memory. Mute images
for deaf spectators, Morrison entwines them with leading contemporary composers. His
collaborations with musicians such as Michael Gordon, Philip Glass and Steve Reich, among
many others, both for films and for diverse performances, helps to provide meaning to these
found images, worked both in their horizontal sense, as a syntactic concatenation, and in its
vertical sense, as semantic density. Morrisons work is against the banality of images. The
depth their exhibition and contemplation reach, in the context of a spectacle, is far from a
sweetened ornament. Rather, his films convene a ritual that can be likened to the experience
of delirium. It is no accident that his production company is called Hypnotic Pictures.
[23] FICVALDIVIA
79
DECASIA
guest filmmakers
premiere chilena
chilean premiere
to the music of Michael Gordons Bang on a Can, performed by the 55-piece basel
sinfonietta. The result is a delirium of deteriorated film stock, a moving avant-garde
masterpiece that leaves its meaning open to interpretation and, most importantly,
your imagination.
premiere chilena
chilean premiere
SPARK OF BEING
Spark of Being, un adaptacin cercana a la obra gtica de Mary Shelley, Frankenstein,
D, P, E
Bill Morrison
doctor y la criatura. Spark of Being, como toda la obra de Morrison, no tiene par-
G Mary Shelley
M Dave Douglas
Spark of Being, a close adaptation of Mary Shelleys Gothic novel Frankenstein, explores the thematic interchangeability of three of the novels characters: the Captain,
the Doctor, and the Creature. Spark of Being, which, as with all of Morrisons films, is
dialogue-free, features Frank Hurleys original footage of Ernest Shackletons fated
Antarctic expedition, along with a range of footage from other sources.
80
cineastas invitados
[23] FICVALDIVIA
premiere chilena
chilean premiere
A partir de material rara vez visto del Instituto Britnico de Cine, la BBC y otros
archivos, The Miners Hymns celebra los aspectos sociales, culturales y polticos
de la industria extinta. Enfocada en los campos de cobre de Durham, en el noreste
de Inglaterra, retrata las dificultades del trabajo en la mina, el rol de los sindicatos
en organizarse y luchar por los derechos de los trabajadores, los aos de creciente
mecanizacin y la Gala Anual de los Mineros de Durham.
Using rarely-seen footage from the British Film Institute, the BBC, and other archives,
The Miners Hymns celebrates social, cultural, and political aspects of the extinct
premiere chilena
chilean premiere
81
[23] FICVALDIVIA
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
guest filmmakers
P Bill Morrison,
Madeleine Molyneaux
confluencia de los ros Yukon y Klondike, al epicentro de la Fiebre de oro del Yukon,
M Alex Somers
S John Somers
enviaron a Dawson entre las dcadas de 1910 y 1920, las que fueron escondidas
I Kathy Jones-Gates,
Michael Gates, Sam
Kula, Bill OFarrell,
Bill Morrison
HYPNOTIC PICTURES
BILL MORRISON
[@] info@billmorrisonfilm.com
cineastas invitados
82
[23] FICVALDIVIA
chilean premiere
NEMO
Nemo nadie. Viaja solo.
Nemo no one. Travels alone.
Bill Morrison
P, M
Zoar
premiere chilena
chilean premiere
CITY WALK
Un viaje por la Avenida Flatbush, en Brooklyn, sobre el Puente
de Brooklyn, entrando a Manhattan.
A journey up Brooklyns Flatbush Avenue, over the Manhattan
Bridge and into Manhattan.
ESTADOS UNIDOS, 1999 DUR 7 // FOR DIGITAL
D, P, E
Bill Morrison
Michael Gordon
premiere chilena
chilean premiere
GHOST TRIP
Se levant, se levant, se levant de entre los Muertos. Y el
Seor llevar mi espritu a casa.
He rose, He rose, He rose up from the Dead. And the Lord shall
ESTADOS UNIDOS, 2000 DUR 23 // FOR 35MM
D, P, S, E
Bill Morrison
Michael Montes
[23] FICVALDIVIA
83
guest filmmakers
chilean premiere
THE MESMERIST
Al igual que el asesino sobrevive para robarle a su vctima y
reescribir la historia, este corto le roba, y descuartiza, a su
predecesor para re-contar su cuento.
Bill Morrison
Bill Frisell
premiere chilena
chilean premiere
LIGHT IS CALLING
Una meditacin sobre la naturaleza de las colisiones aleatorias.
A meditation on the nature of random collisions.
Bill Morrison
Michael Gordon
premiere chilena
chilean premiere
GOTHAM
Nueva York continuamente se reconstruye, se inventa y re-imagina, construye sobre s misma, poniendo capas sobre el
pasado, declarando terminadas pocas enteras, mientras
instala otras recin acuadas.
ESTADOS UNIDOS, 2004 DUR 25 // FOR DIGITAL
D, P, E
M
Bill Morrison
Michael Gordon
cineastas invitados
84
[23] FICVALDIVIA
chilean premiere
OUTERBOROUGH
El viaje de un lado del East River al otro, transformado en
una unidad de tiempo y espacio cada vez ms comprensible
y distribuible.
Bill Morrison
Todd Reynolds
The journey from one side of the East River to the other becoming a unit of both time and space, increasingly compressible
and distributable.
premiere chilena
chilean premiere
Bill Morrison
Deborah Artman
David Lang, Michael Gordon
Ancient newsreel footage of storms, floods and icebergs produces a combination of anxiety and awe, when viewed in the
wake of recent meteorological disasters.
premiere chilena
chilean premiere
WHO BY WATER
Quien vive, quien muere; quien en su tiempo, quien antes de
su tiempo. Quien junto al agua y quien junto al fuego?
Who shall live, and who shall die; who in his time, and who
ESTADOS UNIDOS, 2007 DUR 18 // FOR 35MM
D, P, E
M
Bill Morrison
Michael Gordon
[23] FICVALDIVIA
85
guest filmmakers
chilean premiere
ALL VOWS
Los antiguos y desintegrados pergaminos cuentan la historia
de un voto realizado sin querer.
The dissolving ancient scroll tells the story of a vow made
ESTADOS UNIDOS, 2013 DUR 10 // FOR DIGITAL
D, P, E
M
unintentionally.
Bill Morrison
Michael Gordon
p r e m i e r e l at i n o a m e r i c a n a
l at i n a m e r i c a n p r e m i e r e
Bill Morrison
Curtas Metragens CRL
Ryan Norris
p r e m i e r e l at i n o a m e r i c a n a
l at i n a m e r i c a n p r e m i e r e
Bill Morrison
Ryan Norris
PATRICIO GUZMN
c i n e a s ta i n v i ta d o
G u e st F i l m ma ker
87
[23] FICVALDIVIA
guest filmmakers
Por primera vez, el director de documentales ms importante de la historia del cine chileno
nos acompaa en Valdivia para presentar gran parte de su filmografa. Patricio Guzmn
vive y filma con maestra un momento histrico clave: el triunfo del presidente Salvador
Allende, la efervescencia social, la organizacin popular, la polarizacin de la sociedad
chilena y el fin lapidario del Golpe.
Toda su obra posterior a aquel perodo nace, de alguna manera, desde la profunda herida
que el 11 de septiembre de 1973 deja en la sociedad chilena. Su cine ha ido transitando
desde una narrativa ms bien centrada en la gran historia, hacia la exploracin de la propia
subjetividad. Guzmn es el director de la memoria, un pionero y un referente cuya cmara
y visin han estado volcadas hacia Chile y Amrica Latina.
Guzmn es ante todo un gran contador de historias y un tejedor del tiempo. En sus
pelculas el pasado no es algo inerte, sino una materia en permanente transformacin,
un viaje al encuentro con otros. El pasado es presente y futuro, es acontecimiento y sentimiento, es tiempo y espacio. Est conformado por muchos hilos que l va entretejiendo,
para crear nuevos sentidos y una realidad que slo es posible en el cine. La investigacin
es fundamental en sus pelculas, pero tambin la accin y la creacin de situaciones para
el filme, que finalmente permiten reescribir la historia.
Siete pelculas conforman esta retrospectiva. En Nombre de Dios (1987) rescata el rol
de la Iglesia Catlica en el apoyo a las vctimas de la dictadura; Chile, la Memoria Obstinada
(1997) hace dialogar a los jvenes de los aos 90 con el pasado; El Caso Pinochet (2001)
presenta una completa mirada de actualidad sobre la detencin del dictador en Londres,
en 1998; Salvador Allende (2004) retoma el liderazgo de la figura del presidente.
Hay tres filmes del homenaje que escapan a la vertiente poltica de la obra de Guzmn,
pero que se vinculan con el tiempo, los viajes y la identidad. Pueblo en Vilo (1995) es un bello
retrato visual de un pequeo poblado mexicano. Mi Julio Verne (2005) rescata el espritu de
aventura en nuestros tiempos. Y La Cruz del Sur (1992) explora la importancia y los giros
histricos de la religiosidad en Amrica Latina.
Este homenaje no acaba en 2016, sino que lo retomaremos en una futura edicin de
FICValdivia. Una vez que el director finalice su ltima triloga, compuesta por Nostalgia de
la Luz, El Botn de Ncar y su prximo filme, las programaremos junto a La Batalla de Chile.
88
cineastas invitados
[23] FICVALDIVIA
For the first time, the most important documentary filmmaker in the history of Chilean cinema
is with us in Valdivia, to present a large portion of his filmography. Patricio Guzmn lived and
filmed with mastery a crucial moment in our history: president Salvador Allendes victory,
the social effervescence, the popular organizations, the polarization of Chilean society, and
the crushing end of the Coup.
His entire work after this period is somehow born from the deep wound September 11,
1973, left in Chilean society. His cinema has moved from a narrative that centered on the
great history, towards an exploration of his own subjectivity. Guzmn is memorys director, a
pioneer and reference point, whose camera and vision is aimed at Chile and Latin America.
Guzmn is, above all else, a story-teller, a time-weaver. The past is not something inert
in his films; it is matter in permanent transformation, a journey to encounter others. The
past is present and future, it is event and feeling, it is time and space. It is made up of many
threads he intertwines, to create new meaning and a reality that is only possible in cinema.
Research is crucial in his films, but so are the action and the creation of situations for each
movie, which ultimately allow rewriting history.
Seven pictures make up this retrospective. En Nombre de Dios (1987) rescues the role
of the Catholic Church in support of the victims of the dictatorship; Chile, la Memoria Obstinada (1997) creates a dialog between the past and kids in the 90s; El Caso Pinochet (2001)
presents a complete look at the detainment of the dictator in London, 1998; and Salvador
Allende (2004) resumes the late presidents leadership.
There are three movies in this tribute that lie beyond the political themes in Guzmns
work, but that do associate with time, travel and identity. Pueblo en Vilo (1995) is a beautiful
visual portrait of a small Mexican town. Mi Julio Verne (2005) recovers the spirit of adventure
in our days. And La Cruz del Sur (1992) explores the importance and the historic twists of
religiousness in Latin America.
This homage will not end in 2016, but will continue at a later FICValdivia edition. Once the
director finalizes his latest trilogy, made up of Nostalgia de la Luz, El Botn de Ncar and his
upcoming picture, we will program them, along with La Batalla de Chile.
89
[23] FICVALDIVIA
EN NOMBRE DE DIOS
La Iglesia Catlica chilena se enfrenta a la dictadura militar y se pone al lado de las
guest filmmakers
ESPAACHILE, 1986
DUR 95 //
FOR DIGITAL
D, G
tentes sociales y abogados, para defender a los presos ante los tribunales y buscar
Patricio Guzmn
P Arturo Feli
F Jaime Reyes
E Luciano Berriata
The Catholic Church in Chile confronted the military dictatorship and aligned itself with
the victims and their families, creating the Vicarage for Solidarity, which had teams of
social workers and lawyers to defend the imprisoned before the courts, and search
for the remains of the disappeared. The film shows the impressive mass movement
against Pinochet that generated in Chile, in 1985, within working class neighborhoods,
universities, unions and in downtown Santiago.
ESPAA, 1992
DUR 78 //
FOR DIGITAL
D, P
Patricio Guzmn
G Patricio Guzmn,
Camila Guzmn
F Antonio Ros
configura una zona sagrada donde millones de indgenas y negros buscan refugio.
En 1992, recibe el Gran Premio en el festival de Marsella, el Premio Spirit of Freedom
en Jerusalen y Tiempo de Historia en Valladolid.
E Marcelo Navarro
S Walter Goulart
Taking Latin American religions as the connecting thread, the film shows pre-Columbian myths, the arrival of the white man, the subsequent syncretism and finally, the
theology of liberation. Today, popular religiousness forms a sacred zone where millions
of indigenous and African people seek refuge. In 1992, it collected the Grand Prize in
Marseille, the Spirit of Freedom Award in Jerusalem, and Tiempo de Historia in Valladolid.
cineastas invitados
90
PUEBLO EN VILO
Cerca de la capital de Mxico hay un pueblo sin arquitectura original, sin artesana, sin
[23] FICVALDIVIA
FRANCIAMXICO, 1995
DUR 52 //
FOR DIGITAL
turistas. Sin embargo un escritor de genio, Luis Gonzlez, escribi un libro excepcional
D, G
Patricio Guzmn
se convirti en un texto clsico de la micro historia. Su idea es que todo lo que pasa
F Eric Pittard
E Cathrine Mabilat
Close to Mexicos capital, there is a town without original architecture, without hand-
S Andr Rigaut
crafts, without tourists. However, a genius writer, Luis Gonzlez, wrote an amazing book,
M Batrice Thiriet
narrating the small occurrences in the village. It achieved global success, becoming a
micro history classic. His idea was that everything that happens in a small town is a
reflection, an echo, of what happens in the country at large.
FRANCIACHILE, 1997
DUR 58 //
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D, G
se apoder de Chile en la dcada del 70, durante el gobierno de Allende. Uno de estos
Patricio Guzmn
tndose alrededor del mundo. En 1997, su autor regresa a Santiago para recorrer
F Eric Pittard
otra vez los escenarios y encontrar a algunos de los personajes del filme original. El
E Hlne Girard
S Boris Herrera
Twenty years ago, numerous films were made about the revolutionary fever that seized
Chile in the seventies, during the Allende administration. One of these documentaries,
The Battle of Chile, showed this reality in a clear way, and it went on to screen around
the world. In 1997, its author returned to Chile to visit the locales and find some of
the characters from the original film. The film received 16 international accolades.
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[23] FICVALDIVIA
EL CASO PINOCHET
En septiembre de 1998, Pinochet es detenido en Londres acusado de genocidio,
guest filmmakers
FRANCIACHILE, 2001
DUR 108 //
FOR DIGITAL
terrorismo y tortura. Permanece preso 503 das. Patricio Guzmn ofrece la palabra a
D, G
las mujeres torturadas, a los jueces britnicos, a los jueces espaoles (principalmente
Patricio Guzmn
F Jacques Bouquin
E Claudio Martnez
S Andr Rigaut
FRANCIACHILE, 2004
DUR 100 //
FOR DIGITAL
SALVADOR ALLENDE
Este homenaje que rinde Guzmn al ex presidente de Chile nos recuerda el sueo
D, G
radiante que vivi su generacin, donde poltica y utopa eran sinnimos. La obra
Patricio Guzmn
P JBA Productions
F Julia Muoz,
Patricio Guzmn
en el Festival de Cannes 2004, Gran Premio Festival de Lima 2004, Premio Altazor
en Chile 2006.
E Claudio Martnez
S Alvaro Silva Wuth
M Jorge Arriagada
This homage Guzmn pays the former Chilean president reminds us of the radiant
dream that his generation lived, where politics and utopia were synonyms. The piece
is direct. It has no explicative or demonstrative information; rather, it offers a space for
reflection that is at the same time human, personal and historical. Official Selection
at Cannes 2004, Grand Prize at Lima 2004, Altazor Award, Chile 2006.
92
cineastas invitados
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MI JULIO VERNE
FRANCIA, 2005
DUR 58 // FOR DIGITAL
D, G
radores que hacen los mismos viajes que l imagin hace 100 aos. Por ejemplo,
Patricio Guzmn
para el Viaje a la Luna film a un astronauta. Para 20 mil leguas de viaje submarino
descubr un hombre que vivi bajo el mar. Para los viajes polares encontr a una
F Jacques Bouquin
mujer que cruz a pie la Antrtica. Para el Viaje al fondo de la Tierra film a un
E Eva Feigeles
S Andr Rigaut
M Jorge Arriagada
How to explain Jules Vernes sense of adventure? Search for explorers who undertake
the same voyages he imagined 100 years ago. For example, for A Trip to the Moon,
I filmed an astronaut. For 20,000 Leagues Under the Sea, I discovered a man who
lived underwater. For the polar travels, I found a woman who crossed Antarctica on
foot. For Journey to the Center of the Earth, I filmed a man who became isolated in
a cave for a year.
ATACAMA PRODUCTIONS
PARS, FRANCIA
RENATE SACHSE /
PATRICIO GUZMN
JOEL POTRYKUS
c i n e a s ta i n v i ta d o
G u e st F i l m ma ker
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guest filmmakers
UN HUMOR TENEBROSO
por john campos gmez
Un humor tenebroso, ms rabioso que cido, fsico e irritante con adustos guios geek es
el que desarrolla con total desenfado el estadounidense Joel Potrykus. Humor gringo que
escapa de la gigantesca sombra de la Nueva Comedia Americana, rehye a la irona para
adentrarse socarronamente en la naturaleza de la sordidez.
Su trptico compuesto por Ape (2012) y Buzzard (2014) ms el corto Coyote (2010) es
tan gracioso como depravado. No obstante, su lado cmico es ambiguo porque se sostiene
en una sobreexposicin de lo pattico que puede incomodar por su cinismo. El irreverente
Potrykus, con insolente desparpajo, consigue trenzar humor (fsico) y perversin (psicolgica) sobre los resquemores ticos que provoca en el espectador. Ello pone de manifiesto
la mordaz inteligencia que este emergente comediante aplica en sus inquietantes historias
de losers en apuros.
En Ape, un psimo comediante (y pirmano) logra hacer un pacto con el diablo con nefastas consecuencias. Mientras, en Buzzard, un practicante de banca huye de su precario
trabajo con el mpetu de querer estafar a quien se cruce por su camino, hasta llegar al lmite.
Estas historias estn predispuestas para que todo salga mal dentro de la pantalla, con el
fin de estimular nuestra desfachatez fuera de ella.
Irreductibles a cualquiera de los gneros que revisitan y explotan, ambas pelculas
representan novsimos ejemplos de un realismo detonado por la rutina de lo extraordinario:
no tanto una pretensin potica como un anhelado estilo de vida desaforado, amparado en
la ficcin. Y, es que todo vale en la tragicmica cotidianidad.
Tras el dptico animal protagonizado por Joshua Burge, inquietante actor de rostro
elstico y ojos saltones, Joel Potrykus virara su enfoque corrosivo hacia la infortunada
experimentacin de un excntrico cientfico/mago interpretado por Ty Hickson. Para l
mismo The Alchemist Cookbook (2016) es su manifiesto sobre la vida de un artista. En clave
hilarante, fantasiosa y demoniaca, aborda el tormento de todo creador que se desilusiona,
sufre y delira en pos de su cometido artstico que mal paga con soledad, miedo y deformacin.
Esto es rerse de los dems l, nosotros, con festiva desvergenza.
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cineastas invitados
[23] FICVALDIVIA
A murky sense of humor, more rabid than acid, physical and irritating, with surly geeky nods,
is the one that American Joel Potrykus practices with complete irreverence. A gringo sense
of humor that escapes from the gigantic shadow cast by the New American Comedy, it avoids
irony to sarcastically enter the nature of the sordid.
His triptych made up of Ape (2012) and Buzzard (2014) plus the short film Coyote
(2010) is as funny as it is depraved. However, the comical side is ambiguous, because it is
predicated on an over-exposition of the pathetic, with a cynicism that can get uncomfortable.
With insolent nerve, a defiant Potrykus manages to intertwine (physical) comedy with (psychological) perversion over top of any ethical reservations he may provoke in the spectator.
This brings light to the scathing intelligence this up-and-coming comedian applies to his
disquieting stories about losers in tight spots.
On Ape, a lousy comic (and pyromaniac) manages to make a pact with the devil, with
disastrous consequences. Meanwhile, in Buzzard, a bank intern runs from his precarious job
with the drive to swindle anyone that crosses his path, taking it to the edge. These stories are
predisposed for everything onscreen to go wrong, in order to stimulate our brashness off-screen.
Irreducible to any of the genres they revisit and exploit, both films represent novel examples of a realism that is detonated by the routine of the extraordinary: not so much poetic
pretension as a longed for riotous lifestyle, under the cloak of fiction. Anything goes in the
tragicomedy of the quotidian.
After the animal triptych starring Joshua Burge, a disquieting bug-eyed actor with an
elastic face, Joel Potrykus shifted his corrosive focus to the unfortunate experimentations
of an eccentric scientist/sorcerer played by Ty Hickson. Potrykus himself confesses The Alchemist Cookbook (2016) is his manifesto about the life of an artist. In a hilarious, fantastic
and demoniacal tone, it takes on the torment of every creator that becomes disillusioned,
suffers and raves in search of his or her artistic mission, which poorly wickedly with solitude,
fear and deformation. This is laughing about others him, us with festive shamelessness.
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guest filmmakers
premiere chilena
APE
chilean premiere
Trevor Newandyke is a struggling comedian who not only bombs on stage, but bombs
P Sob Noisse
in everyday life. Hes fed up with the threats from the cable company, 7-11 raising the
S Michael Saunders
price of the Slurpee, and all the jerks who think they can push him around. Luckily,
premiere chilena
chilean premiere
BUZZARD
La paranoia lleva a Marty, un estafador de poca monta, a huir de su pueblo y esconderse
98
cineastas invitados
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
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Joel Potrykus
F Adam J. Minnick
S Sasa Slogar
Suffering from delusions of fortune, a young hermit hides out in the forest hoping to
crack an ancient mystery, but pays a price for his mania.
SOB NOISSE
ASHLEY YOUNG
[@] ashleyyyoung@gmail.com
[t] +001 616-293-7518
MARA ALCH
c i n e a s ta i n v i ta d a
G u e st F i l m ma ker
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guest filmmakers
Lo que pareciera conectar las heterclitas narrativas que construye la cineasta trasandina
en sus cortometrajes es la constante bsqueda de una nueva construccin del relato. Mara
Alch estudia cine en la ENERC y en su primer corto, Quien Se Meti Con Mayra, vemos unas
adolescentes que asemejan a cowboys en un suburbio bonaerense, en lo que parece ser
un primer ejercicio de gnero en un western.
Luego de esto su acercamiento cambiara de foco hacia una ficcin en clave hbrida
llamado Noelia, donde una adolescente llamada como el film se graba a s misma luego
de una pelea con su madre. La chica tiende a sobre-dramatizar su rol de victima mientras
juega con distintos personajes, sin el consentimiento de los mismos. As, se traslada de
un hotel donde trabaja Valeria, a jugar con la chica del kiosco que vende Loto, pasando de
ver unas abuelas seniles en una casa de retiro. Noelia es delirante y al momento en que la
vemos volver a casa ya no sabemos a ciencia cierta si el juego sigue o es realidad.
Su corto siguiente, Gulliver, estrenado en Locarno 2014, pareciera un film sobre dos
hermanos, interpretados por Renzo Cozza y Agostina Luz Lpez, junto a su atiborrado e
incmodo ambiente familiar. La madre cuenta un sueo en el comienzo, donde un hombre
que muere es devuelto a la vida, pero ms joven. Ms tarde, los hermanos van a una fiesta,
pero la chica se emborracha y ya no quiere volver a casa. Ella, el chico con el flirtea y su
hermano deambulan por distintas locaciones, hasta que la lnea de lo real parece difuminarse. Sentados en una gran estatua, el estatuto entre los tres cambia y de pronto ya no
son quienes eran. Al volver a casa de madrugada todo es distinto.
Esta sensacin de que la mentira y lo ficticio se funden con lo real es un marco amplio
de exploracin en todos los cortos de Alch, donde no solo el dominio actoral, sino tambin
una particular visin de la puesta en escena, la marcan como una cineasta interesada en
los juegos narrativos tan fructferos en su tierra. El espectador debe enfrentarse entonces
a no saber de qu cdigo asirse y dejarse perder en estos senderos que se bifurcan.
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cineastas invitados
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What seems to connect the heteroclite tales this Argentinean filmmaker spins in her shorts
is the constant search for a new way to build narratives. Mara Alch studied film at ENERC,
and in her first short film Quien Se Meti Con Mayra we see teens that resemble cowboys in
a Buenos Aires suburb, in what appears to be the first gender exercise in a Western.
After this, she changed her focus to a hybrid fiction called Noelia, where a teenager named
after the film tapes herself, after a fight with her mother. The girl tends to be over dramatic in
her role as the victim, while she plays with different characters without their consent. Thus,
she moves from the hotel where Valeria works, to play with the girl that sells lotto tickets at
the kiosk, after being with a couple of senile grandmothers at a retirement home. Noelia is
delirious, and by the time we see her come home, we cannot say with true certainty whether
this is reality or her games continue.
Her following short, Gulliver, premiered in Locarno 2014, seems to be a movie about two
siblings, played by Renzo Cozza and Agostina Luz Lpez, together with their crowded and
uncomfortable family environment. The mother tells a dream at the beginning, where a dead
man is brought back to life, but younger. Later, brother and sister go to a party, but the girl
gets drunk and doesnt want to return home. She, the boy she is flirting with and her brother
meander through different locations, until the line that defines reality becomes blurred. Sitting
by a giant statue, the statutes between them change and suddenly they are no longer who
they were. When they get back to their house, everything is different.
This feeling that lie and fiction become fused with reality is a broad framework Alch
explores in all her short films, where not only the actors craft, but also a particular vision
for staging, define her as a filmmaker interested in the narrative games that have been so
fruitful in her land. The spectator then must face not knowing what code to grab on to and
become lost in these roads that branch out.
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guest filmmakers
premiere chilena
chilean premiere
Teen Western in the middle of the Buenos Aires conurbation: bands of girls, a paper
ARGENTINA, 2008
DUR 10 //
FOR DIGITAL
D, G. E
ARGENTINA, 2012
DUR 15 // FOR DCP
D, G, P
Mara Alch
F Cecilia Bruck
E Alvar Martn
S Guido Beremblum, Manuel
De Andrs
I Laila Maltz, Valeria
Roldn, Margarita
Villalba, Mariel
Fernandez, Aldo
Rodriguez, Maitina Di
Marco, Claudia Cantero
NOELIA
Es verano en la ciudad. Noelia es adolescente y tiene mucho tiempo libre. Est sedienta de explorar. Va a todos lados con su cmara, eufrica por descubrir nuevos
lugares y personas, a las que increpa con preguntas. Inventa vnculos familiares
de los que da testimonio a su cmara, construye ficciones donde ella misma es
protagonista, de distintas familias, ancdotas, generando situaciones confusas
que el resto intenta desmentir.
Summer time in the city: Noelia is a teen with a lot of free time. She is hungry to explore. She goes everywhere with her camera, ecstatic about discovering new places
and people she pesters with questions. She makes up family ties she speaks of to
the camera, building fictions she stars in, in different families, anecdotes, generating
confusing situations everyone else tries to deny.
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cineastas invitados
GULLIVER
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ARGENTINA, 2015
DUR 25 // FOR DCP
Agos tiene una madre que ve muchas pelculas, dos hermanos, un encuentro en una
fiesta y la sensacin de haber cado en un paisaje lejansimo, que le resulta familiar: un
mundo fallado, lleno de piezas y puertas que conducen al mismo lugar, pero diferente.
D, G
Mara Alch
Agos has a mother who watches too many movies, two brothers, an encounter at a
party and the sensation of having fallen in a far-away landscape that somehow feels
F Luisa Cavannagh
familiar: a flawed world, full of rooms and doors that lead to the same place, but different.
premiere chilena
chilean premiere
ARGENTINASUIZA, 2015
DUR 3 // FOR DCP
SIGNS OF A STRUGGLE
Una da de resaca y las idas y vueltas de una relacin se condensan en una conversacin
entre dos amantes, en el mtico edificio Bauhaus en Monte Verit. De fondo, los
Alpes Suizos.
D, G, F
Mara Alch
A day with a hangover and the comings and goings in a relationship become condensed
S, M
in a conversation between two lovers, in the mythical Bauhaus building in Monte Verit.
Luciano Azzigotti
F Mara Alch
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premiere chilena
chilean premiere
INVIERNO 3025
Una invasin humana llega al Planeta Rojo, poniendo en alarma a todos sus
habitantes. Cortometraje realizado para El Museo del Cine, con material de archivo
en 8 y 16 mm de su propia coleccin.
A human invasion arrives in the Red Planet, raising the alarm in all its inhabitants.
The short was made for Museo del Cine, with archive footage in 8 and 16 mm from
their own collection.
SR. BUDRICK
[@] sr.burdickarg@gmail.com
[t] +005 4911 6965 9531
guest filmmakers
ARGENTINA, 2016
DUR 5 //
FOR DIGITAL
D, G, E
Mara Alch, Juan
Pablo Menchn
P Museo del Cine
S Sebastin Papalardo
ROYA ESHRAGHI
c i n e a s ta i n v i ta d a
G u e st F i l m ma ker
[23] FICVALDIVIA
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guest filmmakers
La cineasta iran Roya Eshraghi emigra a los 15 aos a Costa Rica. Ser en este pas y en
Cuba que iniciar su carrera cinematogrfica, con una serie de cortos que sorprenden por
su sencillez, por el encanto de lo cotidiano, por esa capacidad de encontrar aquel pequeo
detalle que vislumbra un mundo desde las cosas ms simples, componiendo una obra basada
en reflexiones en un idioma ajeno a la tierra en la cual se vive, estableciendo nexos entre lo
presente y lo perdido, entre lo visible y lo que se ramifica de aquello visto.
En Remembrances (2014), el recuerdo de Foad, su hermano muerto hace diez aos,
gatillar un simple homenaje a pie, un recorrido por la arena y el mar, tan reconocible como
ntimo, para justamente rememorar a quien ya no est, pero sigue presente en cada paso.
Ese utilizar elementos, paisajes y experiencias reconocibles es parte fundamental de la
propuesta cinematogrfica de la cineasta iran-latinoamericana.
Lorenza, la Radio y T (2015) y Nada ni Nadie (2015) son dos ensayos sobre la memoria,
sobre dos mujeres de avanzada edad, sobre el qu y cmo se recuerda. Son a su vez dos
cortometrajes que evidencian el poder del cine en cuanto a documento que plasma, registra
y proyecta un momento, un simple instante, un descubrimiento, una sorpresa, un olvido.
Si Remembrances marca el homenaje al hermano muerto, El rbol (2015) ser la obra
dedicada a su querido padre. Roya encuentra un rbol dentro de un edificio, fuera de su
hbitat natural. Un rbol que, al igual que ella, lucha por mantener sus races lejos de su
propia tierra, que crece fuera de su propia tierra, elevndose piso a piso hasta superar el
techo. Su padre al telfono le sealar el camino: La misma sensacin que te ha dado, para
que vayas hacia ella, tienes que hacerla florecerexplorarlade cierta forma la primera vez
que lo viste, te dio una sensacin. Sigue esa misma emocin e indaga sobre ella. Eshraghi
sigue el consejo paterno, logrando en su corto una bellsima constatacin del poder del cine
como arte que conjunta en una imagen-centro todo un mundo, y que al igual que la poesa
solo requiere de un artista capaz de entregarnos tal imagen.
Roya Eshraghi es una de esas artistas, y es por ello que queremos dedicarle esta retrospectiva temprana, junto a estos versos del poeta chileno Gonzalo Milln:
rbol de la esperanza
creciendo al borde del abismo
con la mitad de las races al aire
Mantente firme!
108
cineastas invitados
[23] FICVALDIVIA
Iranian filmmaker Roya Eshraghi immigrated to Costa Rica at age 15. It is in this country and
in Cuba that she began her film career, with a series of short films that surprise with their
simplicity, the charm of the quotidian, that capacity to find that small detail that shows a
glimpse of a world from the perspective of simple things, composing a body of work based on
reflections in a language that is alien to the land where she lives, establishing links between the
present and the lost, between the visible and the things that branch out from what is seen.
In Remembrances (2014), the memory of Foad, her brother, dead ten years prior, triggers
a walk by the sand and the sea, as recognizable as it is intimate, precisely to remember someone who is no longer there, but that is still present in every step. Her use of recognizable
elements, landscapes and experiences is a fundamental part of the cinematographic vision
of this Iranian-Latin American filmmaker.
Lorenza, la Radio y T (2015) and Nada ni Nadie (2015) are two essays about memory,
about two elderly women, about what is remembered and how. They are also two shorts that
demonstrate the strength of cinema as a document that captures, registers and projects a
moment, a simple instant, a discovery, a surprise, an oversight.
If Remembrances marks a tribute to her diseased brother, El rbol (2015) will be the piece
she dedicates to her dear father. Roya finds a tree inside a building, away from it natural habitat.
The tree, like her, fights to keep its roots far from its own land, which grows far from its own
land, rising floor after floor, until surpassing the ceiling. Her father, on the phone, will point
out the way: That feeling it gave you to approach it, you have to make it flourish explore
it In a way, the first time you saw it, it gave you a feeling. Follow that same emotion and
delve into it. Eshraghi follows her dads advice, achieving in her short a gorgeous verification
of the power of film as an art form that gathers an entire world in an image-center, and just
like in poetry, all that is required is an artist capable of delivering that image.
Roya Eshraghi is one of those artists, which is why we dedicate this early retrospective
to her, along with the words from Chilean poet Gonzalo Milln:
Tree of hope
Growing on the edge of the abyss
With half your roots in the air
Stay strong!
[23] FICVALDIVIA
109
guest filmmakers
premiere chilena
REMEMBRANCE
chilean premiere
It is a visual haiku dedicated to a loved one that has left this world. It is a portrait of
D, G, P, F, E
fleeting moments in a distant memory. The director made it in tribute to her brother,
Roya Eshraghi
premiere chilena
chilean premiere
LORENZA, LA RADIO Y T
Lorenza es una mujer de avanzada edad que vive en su cabaa en la Sierra Maestra.
D, F, E
Roya Eshraghi
Lorenza is an elderly woman that lives in her cabin in Sierra Maestra. Her sole en-
P Pablo Barban
tertainment, and her only contact with the outside world, is when she listens to the
S Tomas Navas
radio, following her favorite broadcast, a soap opera. But, today something happens
differently, which is what you will share with her for the next 12 minutes.
110
cineastas invitados
[23] FICVALDIVIA
premiere chilena
NADA NI NADIE
chilean premiere
Reflexin sobre los instantes que quedan plasmados en el recuerdo: Cunto tiempo
duran? Cmo se van perdiendo sus intensos colores originales? Una documentalista
iran, en Cuba realizando su ltima pelcula, parte de su propia motivacin personal.
Va tejiendo su propia historia con la de una anciana que conoce hace tiempo y quien
est perdiendo la memoria. Adems, es una reflexin sobre el quehacer del cineasta
D, G, P
Roya Eshraghi
F Vladimir Barberan
A reflection about moments that become imprinted in memory: How long will they
last? How will the intense original colors fade? An Iranian documentary artist, in Cuba
making her last film, begins with her personal motivation. She weaves her own story
S Victor Quintanilha,
Lucas Coelho
E Ahmed O. Abdellahi
with that of an elderly lady she knows a while, and who is losing her memory. It is also
a reflection on the craft of the filmmaker, who keeps moments in time.
premiere chilena
chilean premiere
EL RBOL
Un rbol que crece entre las ruinas del 5to piso de un edificio abandonado inspira a
la documentalista Iran para que, desde Cuba, nos narre una historia de desarraigo.
D, G
A tree that grows amidst the ruins in the 5th floor of an abandoned building inspires
Roya Eshraghi
the Iranian documentary filmmaker to tell a story of uprooting, from Cuba. The movie
P Diana Reyes
was dedicated to her father, and it ends with a text he shared with her.
F Freidel Urbina
E Ahmed O. Abdellahi
S Victor Quintanilha
M Hoss Yekband
La pelcula fue dedicada a su padre y culmina con un texto que l comparti con ella.
[23] FICVALDIVIA
113
cineastas invitados
MUESTRA
PARALELA
OUT OF COMPETITION PROGRAM
1895 1966
BUSTER KEATON
homenaje
Tr i b u te
115
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tributes
116
homenajes
[23] FICVALDIVIA
Whether born as a self-defense mechanism, out of ridicule, out of the impossible, or all of
those things together, humor cannot be explained or justified. Laughter happens, period. Or, it
doesnt (a horrible moment wherever it may be). For these reasons and many more, comedy is
the hardest, most dreadful of all genres. And, the mere fact that we continue to watch Buster
Keatons films, even a century after he first showed up on the big screen, speaks eloquently
about the genres indelible mark, when it is taken to its most remarkable expressions.
Stone Face Keatons (1895-1966) capacity to amaze new generations, without cultural
mediation or theoretical frameworks, secured his place in the canon. But different from other
fellows, neither black and white nor the relative silence have failed to produce now what
they did then: laughter, awe, fascination. Having said that, one must be grateful for his place in
the crafts pantheon, which not always underestimated comedy as it does, and which found its
greatest Keaton of all time in The General (according to Orson Welles, the greatest comedy,
the greatest film about the US Civil War, and maybe, the greatest film of all).
Not having received formal education and refuting the intellectuals who saw him as one
of their own, Keaton was a man of intuition, when it came to the mechanics of gags, element
distribution in space and the role of his own body, always exposed to the elements. Thus, we
can observe him in the riskiest and eventually absurd maneuvers: falling off buildings,
crashing vehicles, sweeping a mountain of trash with a minute broom, or at the moment when
the faade of a house miraculously spares his life. And, seeing as he never employed stunt
doubles, this is doubly true. As if the goddess of chance had his name on her list, he found
himself in the midst of impossible situations, and got out of them in unimaginable ways.
In a Beatles vs. Stones logic before those names existed, the surrealists disregarded
Chaplins humanitarianism and bet all their chips on the man who never laughed but made
everybody else do. Ninety years after, this hatefulness, one that never existed between Charles
Chaplin and Buster Keaton (indeed, quite the contrary), makes little sense in the face of two
of the most extraordinary tamers of the cinematographic language. If you ask me, though,
my money is on Keaton. Unabashedly.
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tributes
ONE WEEK
Una pareja recin casada construye su nuevo hogar, el cual es una casa pre fabricada
que se debe montar. Sin embargo, el ex novio de la mujer cambiar el nmero de
D, G
las cajas en donde vienen las piezas, lo que har que la casa soada se transforme
Buster Keaton,
Edward F. Cline
en otra cosa
F Elgin Lessley
A recently married couple builds their new home, which is a prefab house that needs
I Buster Keaton,
Sybil Seely, Joe Roberts
to be assembled. However, the womans ex-boyfriend will change the number of boxes
the parts arrived in, making the dream house turn into something different
118
homenajes
SHERLOCK JR.
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Buster es un proyectorista que suea con ser investigador privado. Para ello, lee
libros que lo ayuden a resolver posibles casos. Sin embargo, su deseo no se cum-
D Buster Keaton
G Clyde Bruckman,
Jean Havez, Joseph
Mitchell
la pantalla grande.
he reads books that could help him solve possible cases. However, his wish will not
come true in a literary way, but in a filmic one, when he goes from the booth at the
cinema, into the film he is projecting, magically and unexpectedly beginning to live
inside the big screen.
THE NAVIGATOR
Un millonario cmodo e intil decide viajar luego de sufrir una desilusin amorosa. El
destino querr que aborde un barco que ser dejado a la deriva para que naufrague
y que la nica pasajera abordo sea justamente la mujer que rechaz su amor. As, en
alta mar, estarn obligados a convivir juntos e intentar sobrevivir.
An idle and useless millionaire decides to travel, after being heartbroken. Fate will
have him board a ship that will be left adrift to be shipwrecked, and whose sole other
passenger is precisely the woman who rejected his affections. Thus, in the high seas,
they will be forced to live together to try and survive.
119
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tributes
THE GENERAL
Buster tiene dos grandes amores en su vida: Anabelle Lee y un tren, llamado La
para demostrarle a Anabelle que es valiente, pero lamentablemente es rechazado,
D, G
Buster Keaton, Clyde
Bruckman
lo que har que la mujer tambin lo rechace. Sin embargo, las tropas del norte
raptaran tanto a la locomotora como a la mujer, lo cual har aflorar todo su valor
G Carl Harbaugh
sacar ventaja en el negocio cuando su hijo Willie (Buster Keaton) llegue a la ciudad
a conocerle. Sin embargo, Willie no ser lo que su padre espera y, si a eso sumamos
1890 1935
CARLOS GARDEL
homenaje
Tr i b u te
121
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GARDEL:
TANGO, Y LOS CORTOMETRAJES DE EDUARDO MORERA
por luis bocaz
Las historias del cine argentino reservan un vaco para los largometrajes sonoros protagonizados por Carlos Gardel. Descontando Flor de Durazno (1917), dirigida por Francisco
Defilippis en la sierra cordobesa, el resto de las cintas argumentales en que participa a
contar de Las Luces de Buenos Aires (1931), no fueron filmadas en locaciones de Argentina;
fueron obra de directores extranjeros: un chileno, Adelqui Millar; un francs, Louis Gasnier;
y un norteamericano, John Reinhardt. Adems, fueron producidas por la empresa cinematogrfica norteamericana Paramount. As, es legtimo sostener que los diez cortometrajes
realizados por Eduardo Morera entre septiembre y octubre de 1930 constituyen la nica
intervencin efectiva de Carlos Gardel en el cine sonoro argentino.
Hay consenso para considerar los cortos realizados por Morera el primer ejemplo de
cine sonoro con sistema ptico Movietone en Argentina. Ellos visibilizan, en la dcada del
30, la convergencia de tres ncleos de creatividad de diferente naturaleza que coincidieron
con su presencia liminar desde la dcada de cierre del siglo XIX. En primer lugar, la ola
inmigratoria en la que desembarca en Buenos Aires, en 1893, Berthe Gardes, de profesin
planchadora, con Charles Romuald Gardes, hijo de padre desconocido, nacido el 11 de
diciembre de 1890 en la maternidad del Hospital Saint Joseph de la Grave, de Toulouse,
Francia. El segundo es el Tango, notable expresin de la creatividad popular. El tercero es
la llegada del cinematgrafo a Buenos Aires y a otros puntos de Amrica Latina.
Desde 1910, la presin emblemtica del Centenario orienta la atencin del cine mudo
y de la literatura hacia tipos sociales, ambientes y episodios que se estiman reveladores
de una identidad local. Costumbrismo, criollismo, nativismo, telurismo: los nombres varan
para un idntico impulso de autoafirmacin cultural. En este panorama, el hijo de Berthe
Gardes es un producto urbano de la inmigracin, criado en la barriada del Abasto, primero
como El Francesito y luego como el Morocho del Abasto, segn lo apoda su barra. Data
de sus veinte aos, la trasformacin de su nombre por el de Carlos Gardel y, desde un
mitificado encuentro para dirimir superioridades, en 1911, comparte destino artstico con
Jos Razzano, otrora su rival. El do Gardel-Razzano se dedica a interpretar un repertorio
campestre: cifras, estilos, vidalitas, zambas, y permanece ajeno al Tango.
En 1917, con sobrada antelacin a los cortometrajes de Morera, registra el primer cruce
de la biografa de Carlos Gardel con el cine: su participacin en el film Flor de Durazno.
Advertencia casi ociosa: es la etapa del cine mudo y, en consecuencia, la participacin
tributes
homenajes
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123
En un formato breve, de no ms de cuatro minutos, cada corto culmina con una interpretacin de Gardel, de modo que el hilvn del total lo aporta su actuacin. Si nos atenemos al
orden cronolgico de creacin de las piezas interpretadas se constata un homenaje tcito
de Gardel a los inicios de dos etapas de su desarrollo artstico: una rememoracin de la
temtica campestre y sus primeros pasos en el cultivo del Tango.
Francisco Canaro acompaa con su orquesta a Gardel slo en dos piezas: el tango de
Celedonio Flores Viejo Smoking (1930) y el vals de Barbieri y Rial Rosa de Otoo (1923). Esta
reducida intervencin responde sin duda a las conocidas reticencias de Gardel sobre el
acompaamiento orquestal, respecto del cual prefera el de sus guitarristas, por la facilidad
de repeticin ante eventuales fallas. Sea como sea, el cortometraje con Francisco Canaro
resulta iluminador del papel que Gardel asigna a su labor en el cine sonoro, en relacin con
el panorama cultural del pas. Despus del saludo, se le escucha afirmar, Como siempre,
hermano, defendiendo nuestro idioma, nuestras costumbres y nuestras canciones con
la ayuda del film sonoro argentino. Las palabras de respuesta de Canaro apuntan en lo
sustancial a la ambicin de continuidad de la difusin internacional lograda para la msica
popular argentina con el Tango, Yo por mi parte te acompaar con mi orquesta y har lo
imposible para que nuestras canciones sigan triunfando en el mundo entero.
La breve historia de los aos posteriores al rodaje de Las Luces de Buenos Aires (1931)
en Joinville, Francia, hasta el trgico 24 de junio de 1935, en el aeropuerto de Medelln,
Colombia, adquiere un ritmo acelerado. Durante el rodaje del film en los estudios de la
Paramount, Gardel haba trabado conocimiento con Alfredo Le Pera que, en adelante, ocupara un lugar importante, como su colaborador artstico. Es el guionista de las pelculas
realizadas por Gardel, films que tendrn valor muy particular para la difusin de su arte
en los pases de habla espaola, segn lo proyectaban los cortos de Morera. Sin embargo,
su participacin de mayor trascendencia es la autora de los textos de algunos de los ms
admirados tangos de Gardel, que la memoria popular latinoamericana ha atesorado con
tenaz fidelidad. Baste recordar Meloda de Arrabal (1932), Cuesta Abajo (1933), Mi Buenos
Aires Querido (1934), Volver (1935). La muerte del astro desdibuj un tanto la de Le Pera y de
sus guitarristas. En fin, el mito sobre sus orgenes, vida sentimental y otros aspectos de su
existencia, imparable despus de Medelln, no hizo sino agigantar su figura y la de su arte.
No es necesario, entonces, conjeturar razones por las cuales, en 1985, en el cincuentenario
de su muerte, un grupo de intelectuales chilenos organiz, en Santiago, un homenaje masivo
y polifactico en memoria del gran cantor argentino.
tributes
124
homenajes
[23] FICVALDIVIA
GARDEL:
TANGO AND THE SHORT FILMS OF EDUARDO MORERA
by luis bocaz
The histories of Argentine cinema reserve an empty void for the sound features starring Carlos
Gardel. Not counting Flor de Durazno (1917), directed by Francisco Defilippis in the sierras
in Cordoba, all other fiction films he features on, beginning with Las Luces de Buenos Aires
(1931), were not shot in Argentinean locations; they were the work of foreign directors: Chilean
Adelqui Millar; Frenchman Louis Gasnier; and American John Reinhardt. Additionally, they
were all produced by the American film company Paramount. Thus, it is fair to say that the
10 shorts shot by Eduardo Morera, between September and October 1930, constitute Carlos
Gardels only effective intervention in Argentine sound cinema.
There is consensus in considering Moreras shorts as the first examples of sound cinema
with the Movietone optical system in Argentina. They evidence the convergence of three
creative nuclei, very different in nature, during the 30s, which coincided during the last decade in the 19th century. In the first place, the immigration wave brought Berthe Gardes to
Buenos Aires in 1893; this presser was traveling with Charles Romuald Gardes, her son by
an unknown father, born on December 11, 1890, in the maternity ward at Saint Joseph de la
Grave Hospital, in Toulouse, France. The second is Tango, a remarkable expression of popular
creativity. The third is the arrival of cinema in Buenos Aires and other places in Latin America.
Since 1910, the emblematic pressure of the Centennial oriented the attention of mute
cinema and literature towards social types, environments and episodes that seemed to reveal
a local identity. Costumbrismo, criollismo and other trends of thought; the names may vary,
but the impulse for cultural self-affirmation is identical. In this panorama, Berthe Gardess
son is an urban product of immigration, raised in El Abasto neighborhood, first as the little
Frenchman and later, as the Morocho del Abasto (the dark-skinned man from El Abasto),
the nickname his fans would give him. At twenty, he changed his name to Carlos Gardel, and
after a mythical encounter to settle who was best, in 1911, he shared an artistic destiny with
Jos Razzano, his some time rival. The Gardel-Razzano duo performed a country repertoire:
different rhythms that lay far from the Tango.
1917, a long time before Moreras short films, registered the first incursion in cinema in
Carlos Gardels life: his role in Flor de Durazno. An almost idle warning: this is still the mute
era in cinema, and therefore, Gardels part, even if related with his musical repertoire, in no
way responded to his gift as a singer. That same year would add further novelties to Gardels
artistic resume. The duo went on tour in Chile, with performances in theaters Royal, in Santiago, and Arlegui, in Via del Mar, both of them non-existent now. The grand finale in Via
[23] FICVALDIVIA
125
del Mar was a tango, danced by Gardel with another singer, Roxana, who shared the bill with
the duo not Roxane as some specialists like to repeat.
But this year had something else in store, more significant still for Gardels career. Parallel
with the duos activities, the singer recorded for Odeon a piece by composer Samuel Castriota,
with text by Pascual Contursi. The piece, an instrumental tango, was called Lita. Contursi
changed the title to Mi Noche Triste (My Sad Night), a verse in his lyrics. Gardel debuted the
piece live on July 1917. In January 1918, the recording had moderate success, but there is
agreement that the song represents a fundamental landmark in the history of Tango. The
beginning of the codification of the Tango song as a genre became established in the collaboration of composer and lyricist, instead of the circumstantial addition of text to music that
already floated in the audiences ear. This codification would become solidified, during the 20s,
with Carlos Gardel, who, after triumphs in Europe as a Tango performer, unseated the highly
esteemed local favorites Ignacio Corsini and Agustn Magaldi, among others.
The 20s brought Gardels ascent as a Tango soloist, corroborated by recordings, live shows
and tours. The trips to Spain and France affirmed his fame as a performer. For local Tango
historians, after 1923, the period of the Old Guard came to an end, and, with the so-called
New Guard, came professionalization of the craft and further musical exploration.
These precedents gravitated decisively in the decision by a group of Buenos Aires entertainment personalities to embark, in 1930, on an artistic adventure, taking advantage
of the novel devices of sound cinema: Eduardo Moreras experiment, with Carlos Gardel
on the starring role, already a preferred practitioner of the Tango song. Morera contributed
his experience as an actor in two films and as director of short films, during the mute era.
Famed typical orchestra conductor Francisco Canaro financed the project, and participated
with his ensemble. The testimonies coincide about the precarious character of the technical
equipment and the facilities in the venue of Mexico Street that functioned as a film set. The
artistic objective of the script, defined as a framing of songs, is based in the stellar positioning of Gardels voice and figure. His previous experience before the cameras, no doubt, was
an asset, but this time, what was fundamental in his role was his standing as a renowned
singer and the aura of his success in Europe.
In a brief format, no more than four minutes long, each short ends with a song by Gardel,
so that the connecting thread of the total work is his performance. If we consider the chronological order in the creation of these songs, we confirm an unspoken tribute Gardel paid
tributes
homenajes
126
[23] FICVALDIVIA
to the beginnings of two stages in his artistic development: a remembrance of his country
repertoire and his first steps in the practice of Tango.
With his orchestra, Francisco Canaro accompanied Gardel in only two pieces: Celedonio
Floress Viejo Smoking (1930) and the waltz by Barbieri and Rial Rosa de Otoo (1923). This
limited intervention responds to Gardels documented reservations about orchestral accompaniment, preferring his guitarists, as it was easier to manage potential mistakes. Nevertheless, the short film with Canaro is revealing of the role Gardel assigns his own participation
in sound cinema, regarding the cultural panorama in his country. After the greeting, we can
hear him state, As always, brother, defending our language, our customs and our songs, with
the help of Argentinean sound cinema. Canaros answer points, deep down, to the ambition
for continuity in the international dissemination that Tango achieved for Argentine popular
music, On my part, I will accompany you with my orchestra, and will do the impossible so
that our songs continue to triumph the world over.
The brief history of the years after the production of Las Luces de Buenos Aires (1931), in
Joinville, France, until that tragic June 24, in 1935, in the Medelln airport, in Colombia, took
on fast pace. While shooting at Paramount studios, Gardel met Alfredo Le Pera, who would
become an important artistic collaborator. He is the scriptwriter of Gardels films, movies that
would have a particular value in the dissemination of his art in Spanish-speaking countries, as
attested by Moreras shorts. However, his most important contribution was penning the lyrics
in some of Gardels most admired tangos, which Latin American memory has treasured with
tenacious faithfulness. One only has to remember Meloda de Arrabal (1932), Cuesta Abajo
(1933), Mi Buenos Aires Querido (1934), Volver (1935). The stars death blurred the passing of
Le Pera and his guitar players. In the end, the myth of his origins, his sentimental life and other
aspects of his life, unstoppable after Medelln, only contributed to enlarge his stature and
his arts standing. It is not necessary to speculate the reasons why, in 1985, during the 50th
anniversary of his demise, a group of Chilean intellectuals organized, in Santiago, a massive
and multi-faceted tribute, in memory of the great Argentinean singer.
127
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tributes
ARGENTINA, 1930
DUR 30 // FOR 16MM
D Eduardo Morera
M Carlos Gardel, Enrique
Santos Discpolo,
Francisco Canaro
I Carlos Gardel, Enrique
Santos Discpolo,
Francisco Canaro
histrico total.
p o r ja i m e c r d ova
Here are 10 songs performed by Carlos Gardel, and the first experiments in sound cinema
made in Argentina: Between October and November 1930, director Eduardo Morera,
along with Gardel, Canaro and Discpolo, shot these shorts where the dark-skinned
man from El Abasto sings on film for the first time ever. A true historic document.
by ja i m e c r d ova
CUESTA ABAJO
Criollita dec que s, Mi Buenos Aires querido, Cuesta abajo y Amores de estudiantes
son las canciones que Gardel interpreta en este filme, dirigido por el francs Louis
Gasnier, contiene las ms sentidas interpretaciones de un Gardel que, con esta
pelcula, desembarcaba en EEUU para hacerse an ms grande.
Criollita dec que s, Mi Buenos Aires querido, Cuesta abajo and Amores de estudiantes
are the songs Gardel sings on this film, shot by French director Louis Gasnier, the movie
contains some of the most intense performances by a Gardel who arrived in the US
with this film, to become even bigger than he was.
p o r ja i m e c r d ova
by ja i m e c r d ova
homenajes
128
[23] FICVALDIVIA
TANGO BAR
La ltima cinta que Gardel film antes de morir: El barco, el mar, el viaje, los amigos,
D John Reinhardt
el bajo mundo son temas recurrentes en sus filmes, ms la aoranza por la patria
G Alfredo Le Pera
F William Miller
M Alberto Castellanos,
Carlos Gardel
p o r ja i m e c r d ova
The last picture Gardel worked on before his death: The ship, the sea, the journey,
friends, and the underbelly are always recurring in his films. Together with the longing
for ones far-away motherland, represented in the song Lejana Tierra Ma, these elements make of this film the culmination to a triumphant career cut short by tragedy.
by ja i m e c r d ova
1931 2009
CHICK STRAND
homenaje
Tr i b u te
131
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tributes
132
homenajes
[23] FICVALDIVIA
Chick Strand combined experimental cinema, feminism and anthropology like few during
her time, an intersection that would make her a key even if little recognized figure in the
American avant-garde. It was her friendship with Bruce Baillie, during the 60s, that brought
her close to avant-garde cinema; together they established the Canyon Cinema Foundation.
Their mythical film sessions included cakes baked by Baillie himself, while Strand was in
costume, asking for the corresponding contributions. It was then that Baillie taught her to
use a Bolex camera, and she would never part from it. Inspired by the experience, Strand
would study cinema at UCLA, making her first celluloid pieces, already combining the central
themes of her work, like in Waterfall and Anselmo, transforming an anthropological vision
into a formal search for introspection.
With techniques that are as diverse as the topics that piqued her interest, Strand merged
poetic traditions close the haiku in Angel Blue Sweet Things, the exploration of the female
world in Mosori Monika, and found footage in Loose Ends, which she used as an editing
method, even Strand stated for what she herself filmed.
During the summers, when she had time to escape from work, she often traveled to Mexico
to capture the women in her films, fascinated to portray their bodies and their political struggle.
No doubt she understood the mechanics behind the colonialist operations that subverted
the films she shot south of Los Angeles, political lines that underscore Fake Fruit Factory and
Mujer de MilFuegos. Throughout thirty years, she developed what she dubbed ethnographies
of women, culminating in her only medium-length Soft Fiction.
Sensuality and desire beat throughout Strands entire body of work, as a psychedelic
pulsation that floods the world of the real. Her incessant yet lyrical camera turns these
very palpitations in camerawork, the flicks, the nonsenses, the combinations during editing,
into something sexual: heretical fantasies in search for a freedom that endures lost.
[23] FICVALDIVIA
133
tributes
chilean premiere
ANSELMO
Documental experimental o reconstitucin simblica de
un evento real: le pregunt a mi amigo indgena mexicano
cul era su mayor deseo. Su respuesta fue, una tuba en Mi
bemol. Esta interpretacin potica es en celebracin de los
deseos y las tubas.
ESTADOS UNIDOS, 1967 DUR 3 // FOR 16MM
premiere chilena
chilean premiere
MOSORI MONIKA
Dos culturas se encuentran: La relacin de los Warao y los
misioneros franciscanos espaoles se ve simple, pero se
manifiesta en un cambio complejo de tcnicas, valores y
estilo de vida que, de manera invisible, ha afectado la visin
de vida Warao.
ESTADOS UNIDOS, 1970 DUR 20 // FOR 16MM
premiere chilena
chilean premiere
MUJER DE MILFUEGOS
Una especie de fantasa hereje, el retrato expresionista, surrealista de una mujer latinoamericana; ms que un retrato
personal, una evocacin de la conciencia de la mujer en las
reas rurales de estos pases, en el ritual obsesivo de sus
repetitivas tareas diarias.
ESTADOS UNIDOS, 1976 DUR 15 // FOR 16MM
A kind of heretic fantasy, an expressionistic, surrealistic portrait of a Latin American woman; not a personal portrait so
much as an evocation of the consciousness of women in rural
areas in these countries, in the obsessive ritual of their daily
repetitive tasks.
homenajes
134
[23] FICVALDIVIA
chilean premiere
CARTOON LE MOUSSE
Este corto experimental consta de dos partes: la primera
contiene found footage de dibujos animados en blanco y
negro y escenas de un dormitorio. En la otra, observamos el
juego de las luces de dos cuerpos que juguetean en la tina.
This experimental short film consists of two parts: the first one
contains found footage from various black and white cartoons
and scenes from a bedroom. In the other, we observe the tricks
of light of two bodies playing in a bathtub.
premiere chilena
chilean premiere
FEVER DREAM
Un sueo hmedo y clido sobre la sensualidad
A wet hot dream about sensuality
premiere chilena
chilean premiere
KRISTALLNACHT
Dedicado a la memoria de Ana Frank y la tenacidad del espritu humano.
Dedicated to the memory of Anne Frank, and the tenacity of
the human spirit.
ESTADOS UNIDOS, 1979 DUR 7 // FOR 16MM
[23] FICVALDIVIA
135
tributes
chilean premiere
LOOSE ENDS
Loose Ends es una pelcula collage sobre el proceso de internalizar la informacin que nos bombardea a travs de la
combinacin de experiencia personal y medios de todo tipo.
Loose Ends is a collage film about the process of internalizing
ESTADOS UNIDOS, 1979 DUR 25 // FOR 16MM
premiere chilena
chilean premiere
ARTIFICIAL PARADISE
Romance azteca y el sueo del amor; El deseo ms humano
del antroplogo, el contacto ms profundo con el informante;
La negacin de intelectualismo y la aceptacin del corazn
romntico y de un alma sin inocencia.
premiere chilena
chilean premiere
homenajes
136
[23] FICVALDIVIA
chilean premiere
28 de diciembre 1966
Tr i b u te
139
[23] FICVALDIVIA
Delirar significa, desde el punto de vista etimolgico, salirse del surco. Una pelcula como
Las Margaritas (1966) de Vera Chytilova no es otra cosa, filme insignia de la Nueva Ola checa
de los 70. Resulta difcil encasillar una pelcula como esta, incluso a partir de categoras
tan osadas como las de experimental o surrealista. De esto hay, claro, en la pera prima
de Chytilova, pero son tan claras su articulacin en torno a un discurso poltico, todava
vigente, y su voluntad de contracorriente, tambin significativa hoy, que tras cincuenta aos
desde su estreno, sigue siendo un revulsivo para sus espectadores. La subversin de las
convenciones narrativas y estticas del modelo hegemnico coloca a Las Margaritas, sin
lugar a dudas, entre aquellas pelculas que representan lo mejor de lo que el cine puede dar
como una forma de expresin libre y potente, capaz de desafiar el horizonte de expectativas
de cualquier pblico, en cualquier lugar. Es un canto a la libertad, pero tambin un canto
amargo y desencantado, a pesar de una puesta en escena ldica y radical; una proeza
esttica tambin, sacndole todo el partido a las posibilidades tcnicas del cine anlogo.
Las Margaritas es, adems, una de las pelculas ms representativas de un feminismo
cinematogrfico, no slo por contarnos una historia donde el centro de la rebelin es la
propia condicin femenina, sino porque responde al intento de instalar un discurso estticamente particular. Es tambin la primera obra de una cineasta largamente silenciada
luego de la invasin sovitica a la Checoslovaquia de la Primavera de Praga. Esta directora
supo mantener en el tiempo una posicin de crtica y experimentacin que pocos otros
artistas cinematogrficos han logrado establecer como una caracterstica propia. En estos
tiempos, cuando las tecnologas estn tan al alcance de todos, voces atrevidas como la de
Chytilova debiesen significar un faro que nos conduzca por los borrascosos parajes de la
tormenta meditica.
tributes
140
homenajes
[23] FICVALDIVIA
To be delirious means, from the etymological standpoint, to swerve from the furrow. A film
like Daisies (1966) by Vera Chytilova, is nothing other, the standard-barer in 1970s Czech
New Wave. It is hard to classify a film like this, even in such bold categories as experimental
or surrealist. There is much of that in Chytilovas debut feature, of course, but so clear are
her articulations around a still current political discourse and her still meaningful
countercultural drive that, after 50 years from its release, the picture is still a wake-up
call to spectators. The subversion of narrative and aesthetic conventions in the hegemonic
model position Daisies, without a doubt, among those films that represent the best cinema
can offer, as a form of free, potent expression, able to challenge the expectation horizon in
any audience, anywhere. It is a freedom call, but one that is also bitter and disenchanted,
despite the playful and radical mise-en-scne; likewise, it is an aesthetical prowess that
takes advantage of every technical possibility in analog filmmaking.
Daisies is also one of the most representative films of a cinematographic feminism, not
just for telling us a story where the female condition is at the center of the rebellion, but
also because it responds to the intention of installing a particular aesthetic discourse. It is,
too, the first film by a filmmaker that was long silenced after the Soviet invasion of Czechoslovakia during the Prague Spring. The director managed to keep, over time, a position that was
critical and experimental, such as very few other cinema artists have been able to establish
as their own. In these times, when technologies are within reach for everyone, daring voices,
like Chytilovas, should be a beacon to guide us through the tempestuous landscapes of the
media storm.
[23] FICVALDIVIA
141
tributes
CHECOSLOVAQUIA, 1966
DUR 74 // FOR 35 MM
D Vera Chytilov
G Vera Chytilov,
Ester Krumbachov
F Jaroslav Lucera
S Ladislav Hausdorf
M Jir Slitr, Jir Sust
E Miroslav Hjek
I Jitka Cerhov, Ivana
Karbanov, Marie Ceskov,
Julius Albert, Jan Klusk
LAS MARGARITAS
Esta pelcula multidimensional reflexiona sobre el cine como aparato de
representacin. Bruscos cambios de coloracin, correlato de cambios
espaciales, nos dan cuenta del arsenal expresivo del artista. El filme
no cuenta una historia, sino que retrata a personajes bizarros, inmersos en su necesidad enfermiza de alegra y caos. Es una celebracin
de la vida y tambin una crtica a la sociedad centrada en la figura
masculina del poder.
This multidimensional film makes a reflection on cinema as a representation device. Abrupt changes in coloration, coinciding with spatial
changes, give an account of the artists expressive arsenal. The film
doesnt tell a story; rather, it portrays bizarre characters immersed in
their pathological need for joy and chaos. It is a celebration of life, but
also a criticism of a society centered on the male figure of dominance.
143
GALA
GALA
Las ltimas pelculas de los grandes maestros del cine mundial,
esta muestra rene a los cineastas de mayor prestigio del circuito
de festivales del orbe para ofrecerlos en exclusiva en Valdivia.
The latest titles from the great masters in world cinema, this
program brings together the most prestigious filmmakers in the international festival circuit, to offer them exclusively here in Valdivia.
146
gala
[23] FICVALDIVIA
CHILE, 2016
DUR 103 // FOR DCP
D, G
Jos Luis Torres Leiva
P Catalina Vergara
F Cristian Soto
E Jos Luis Torres Leiva,
Andrea Chignoli
S Claudio Vargas,
Roberto Espinoza
I Ignacio Agero
premiere chilena
chilean premiere
DIRECTOR
CATALINA VERGARA
[@] catalina@globorojofilms.com
[t] +56 9 9653 0493
147
[23] FICVALDIVIA
gala
AUSTRIA, 2016
DUR 89 // FOR DCP
D, G, P
Ruth Beckermann
F Johannes Hammel
E Dieter Pichler
S Gerhard Daurer, Andreas Pils,
Bernhard Maisch
I Anja Plaschg, Laurence Rupp
DIRECTOR
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
RUTH BECKERMANN
Two poets, Ingeborg Bachmann and Paul Celan, came to know each
other in post-war Vienna. Two young actors meet to read the letters of
their dramatic postal exchange. The tumultuous emotions of proximity
and distance, fascination and fear captivate them. However, they also
favorite music. Yesterdays love, todays and tomorrows: the heart of the
RUTH BECKERMANN
FILMPRODUKTION
Seidengasse 15/17, A1070
Viena, Austria
BENEDIKT ENTNER
[@] sekretariat@ruthbeckermann.com
[t] +43 1 994 599
148
gala
[23] FICVALDIVIA
FRANCIA-PORTUGALESPAA, 2016
DUR 115 // FOR DCP
D Albert Serra
G Albert Serra, Thierry Lounas
P Thierry Lounas, Joaquim
Sapinho
F Jonathan Ricquebourg
E Ariadna Ribas, Artur Tort
S Jordi Ribas
I Jean-Pierre Laud, Patrick
dAssumao, Marc Susini,
Irne Silvagni
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
ALBERT SERRA
Este artista y director cataln
comienza a concentrar el
reconocimiento internacional
con su primer largo, Honor de
Cavalleria. El film se exhibe en la
Quincena de Directores de Cannes
2006. Diez aos ms tarde, La
Mort de Louis XIV, su nueva (5)
pelcula, protagonizada por JeanPierre Laud como el Rey Sol, fue
parte de la Seleccin Oficial de
Cannes 2016.
Catalan artist and director
Albert Serra gained international
recognition with his first long
feature, Honor de Cavalleria. The
film was presented at Cannes
Directors Fortnight 2006. Ten
years later, The Death of Louis XIV,
his new (5th) film starring JeanPierre Laud as the Sun King,
screened in the Official Selection
at Cannes 2016.
CAPRICCI FILMS
PIERRE BOIVIN
[@] pierre.boivin@capricci.fr
[t] +33 554 5189
149
[23] FICVALDIVIA
gala
RUMANIA, 2016
DUR 173 // FOR DCP
D, G
Cristi Puiu
P Mandragora, Anca Puiu
F Barbu Balasoiu
E Laetitia Stefanescu, Ciprian
Cimpoi, Iulia Muresan
S Jean Paul Bernard, Filip
Muresan, Christophe
Vingtrinier
M Bojan Gagic
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
SIERANEVADA
En algn lugar de Bucarest, tres das despus del ataque a Charlie Hebdo
en Paris y cuarenta aos despus de la muerte de su padre, el doctor
cuarentn Lary pasa el sbado en una reunin familiar en memoria
de los muertos. Los eventos no suceden como estaba planeado. Las
discusiones se calientan; surgen diferencias fieras de opinin. Forzado
a enfrentar sus miedos y su pasado, teniendo que reconsiderar su lugar
en la familia, a Lary no le queda ms que decir la verdad
Somewhere in Bucharest, three days after the attack on Charlie Hebdo
in Paris and forty days after his fathers death, 40-year-old doctor Lary
spends one Saturday at a family gathering in memory of the decea-
CRISTI PUIU
Cristi Puiu, rumano, realiza varios
cortos y documentales mientras
estudiaba cine, durante los 90, en
cole Suprieure dArts Visuels
de Ginebra. Director de los films
La Muerte del Seor Lazarescu,
Aurora y Sieranevada, Seleccin
Oficial Cannes 2016.
sed. The event does not go as planned. Discussions are heated; fierce
differences of opinion arise. Forced to face his fears and his past, and
having to reconsider his place in the family, Lary is left with no choice
SEMIRA HEDAYATI
ELLE DRIVER
66 rue de Miromesnil-75008
Paris, Francia
[@] sales@elledriver.eu
[t] +33 1 5643 4870
150
gala
[23] FICVALDIVIA
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
MATAS PIEIRO
Nacido en Buenos Aires, las
pelculas de Pieiro incluyen El
Hombre Robado (2007), Todos
Mienten (2009), Rosalinda (2010),
Viola (2012) y La Princesa de
Francia (2014). Hermia & Helena
es la cuarta entrega de su
serie sobre los roles femeninos
en las comedias de William
Shakespeare.
Born in Buenos Aires, Pieiros
movies include El Hombre Robado
(2007), Todos Mienten (2009),
Rosalinda (2010), Viola (2012) and
La Princesa de Francia (2014).
Hermia & Helena is the fourth
installment in his series about
female roles in Shakespeares
comedies.
TRAPECIO CINE
MELANIE SCHAPIRO
[@] melanie@trapeciocine.com.ar
[t] +54 911 5756 2690
151
[23] FICVALDIVIA
gala
PORTUGAL-FRANCIA
BRASIL, 2016
DUR 118 // FOR DCP
D Joo Pedro Rodrigues
G Joo Pedro Rodrigues, Joo Rui
Guerra da Mata
P Blackmaria, House on Fire
F Rui Poas Aip
E Raphal Lefvre
S Nuno Carvalho
M Sverine Ballon
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
O ORNITLOGO
Durante una excursin por el norte de Portugal en busca de aves exticas, la corriente de los rpidos se lleva a Fernando. Rescatado por una
pareja de peregrinos chinos, intenta encontrar el camino de regreso a
casa, a travs de bosques oscuros y fantasmales, donde encuentros
inverosmiles lo pondrn a prueba. Pronto se convierte en un hombre
diferente, inspirado, tal vez, incluso, iluminado
As he treks through the north of Portugal in search of rare birds, Fernando
is swept away by the river rapids. Rescued by a couple of Chinese pilgrims,
he tries to find his way back home through eerie, dark forests, where
uncanny encounters put him to the test. He soon becomes a different
man, inspired, perhaps even enlightened
FILMS BOUTIQUE
GIORGIA HLSSE
[@] giorgia@filmsboutique.com
[t] +49 30 6953 7850
152
gala
[23] FICVALDIVIA
ARGENTINA, 2016
DUR 77 // FOR DCP
D Gustavo Fontn
G Gustavo Fontn, Juan Jos Saer
P Insomnia Films
E Diego Poleri
E Mario Bocchicchio
S, M
Abel Tortorelli
I Germn de Silva, Patricia
Snchez, Rosendo Ruiz, Eva
Bianco,
premiere internacional
i n t e r n at i o n a l p r e m i e r e
Gastn Ceballos
DIRECTOR
EL LIMONERO REAL
Tres hermanas y sus familias se disponen a compartir el ltimo da del
ao. Aunque Wenceslao intenta convencerla, su mujer se niega a asistir
GUSTAVO FONTN
su nico hijo muri hace seis aos. Desde el alba, hasta que Wenceslao
regresa al rancho despus de la medianoche, cada accin cotidiana se
vuelve ceremonia y el tiempo una espiral de sensaciones y recuerdos.
Three sisters and their families are getting ready to share the last day
of the year. Although Wenceslao tries to convince her, his wife refuses to
go to her sisters, to take part in the festivities. She says she is mourning:
her only son died six years ago. From dawn, until the time Wenceslao
returns to the ranch, well after midnight, every daily action turns into
a ceremony, and time becomes a spiral of sensations and memories.
OBRA CINE
PAULINA PORTELA
[@] melanie@trapeciocine.com.ar
[t] +54 911 3400 2718
153
[23] FICVALDIVIA
gala
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
THREE
Una neurocirujano, un gnster, un polica y una noche de miedo y aprehensin: Consumidos por sus propios fines, los tres llegan a extremos,
JOHNNIE TO
Director y productor de ms de
80 filmes con xito comercial y
de la crtica, recibiendo Premio
Mejor Director en mltiples
oportunidades, en importantes
festivales alrededor del mundo.
Sus cintas Election (2005) y
Vengeance (2009) compitieron por
la prestigiosa Palme dOr, mientras
que Exiled (2006) y Mad Detective
(2007) participaron por el Leone
dOr de Venecia.
FRED TSUI
[@] frederick_tsui@mediaasia.com
[t] +852 2314 4288
NUEVOS CAMINOS
NEW PATHWAYS
Los films de vanguardia, las pelculas experimentales que se
arriesgan y exploran las nuevas posibilidades del cine, dialogando
con el pasado y proyectando el futuro de esta disciplina artstica.
The films in the avant-garde, experimental pictures that take a
risk and explore the new possibilities in cinema, dialoguing with
the past and projecting into the future of this artistic discipline.
157
[23] FICVALDIVIA
new pathways
SERBIA-BOSNIA Y
HERZEGOVINAMONTENEGRO, 2016
DUR 100 // FOR DIGITAL
D,G
Dane Komljen
P Natasa Damnjanovic,
Vladimir Vidic, Amra
Baksic-Camo, Adis Djapo,
Bojana Radulovic
F Ivan Markovic
E Dane Komljen,
Natasa Damnjanovic
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
S Jakov Munizaba,
Igor Camo, Simon Apostolou
M Boris Isakovic
Una sala blanca, solitaria, con una carpa azul dentro: ah, dos hombres
comparten una relacin para la que no hay palabras. Alguien penetra
DIRECTOR
DANE KOMLJEN
A single, white room, a blue tent inside: there, two men share a relationship
for which there are no words. Someone else enters this secluded space
and its patterns are disturbed. The world outside brings stories of other
times, of cities to the north and south, of how something is made. New
bonds form and old ones shift. Love can be fragile when not given a name.
Dont call me comrade. What should I call you, then?
DART FILM
Niska 6, 11000 Belgrado, Serbia
DANE KOMLJEN,
VLADIMIR VIDIC
[@] office@dartfilm.com
[t] +381 11 420 3278
158
nuevos caminos
[23] FICVALDIVIA
ALEMANIA, 2016
DUR 96 // FOR DCP
D Douglas Gordon
G Douglas Gordon, Ninon Liotet
P Sigrid Hoerner, Zeynep Ycel,
Douglas Gordon
E Ninon Liotet
S Paul Oberle, Dave Powers,
Frank Kruse
M Avri Levitan,
Douglas Gordon, Frank Kruse
I Jonas Mekas
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
I HAD NOWHERE TO GO
El siglo 20 produjo millones de refugiados y personas desplazadas.
Algunos se asientan, creando nuevas races; otros continan viajando,
esperando, soando con volver a casa. Este es el relato en primera
persona de la vida, pensamientos y sentimientos de un desplazado:
Jonas Mekas. Es tambin el registro doloroso de las experiencias de
una persona en un campo Nazi; en campamentos de refugiados y durante sus primeros aos como joven inmigrante lituano en Nueva York.
The 20th century produced millions of refugees and displaced people.
Some of them settle down and grow new roots; others continue traveling, waiting, dreaming of returning home. This is a first-hand account
of the life, thoughts and feelings of a displaced person: Jonas Mekas.
It is also a painful record of one persons experiences in a Nazi camp;
in displaced people camps; and the first years as a young Lithuanian
immigrant in New York.
DOUGLAS GORDON
La prctica artstica de escocs
Douglas Gordon abarca cine y
video, instalaciones, escultura,
foto y texto. A travs de su
obra, investiga las condiciones
humanas, como la memoria y el
paso del tiempo, y dualidades
universales, como la vida y
la muerte, el bien y el mal, lo
correcto y lo errado.
Scotsman Douglas Gordons arts
practice encompasses video
and film, installation, sculpture,
photography and text. Through
his work, Gordon investigates
human conditions like memory
and the passage of time, as well
as universal dualities such as life
and death, good and evil, right
and wrong.
SIGRID HOERNER
[@] sigrid@moneypenny-film.de
159
[23] FICVALDIVIA
new pathways
ESPAA-HOLANDAPERU, 2016
DUR 2 // FOR DIGITAL
D, P, E
Mauricio Freyre
S Rafael Freyre
I Jort van der Laan
premiere mundial
world premiere
DIRECTOR
SET OUT 1
Cundo comienza la ficcin de una pelcula? Dnde van los personajes
cuando la pelcula ha terminado? Una historia hecha de fragmentos y
piezas no utilizadas de un rodaje. La cmara examina el paisaje de la
puesta en escena, buscando significado en los elementos con los que
se construye la pelcula.
When does the fiction in a film begin? Where do the characters go, when
the movie is over? A story made of fragments and footage discarded from
a shoot. The camera examines the landscape of the mise-en-scne,
searching for meaning in the elements that make up the picture.
MAURICIO FREYRE
Su trabajo investiga las
dimensiones ideolgicas
de la arquitectura y el
cine, explorando en su
encuentro la interaccin de la
experiencia, la representacin
y el imaginario. Es tambin
profesor visitante en The
Berlage, The Royal Academie of
Arts Den Haag y la Universidad
Politcnica de Madrid.
His work delves into the
ideological dimensions of
architecture and cinema,
exploring in their encounter
the interaction between
experience, representation
and the imaginary. He is also
visiting professor at The
Berlage, The Royal Academie of
Arts Den Haag and Universidad
Politcnica de Madrid.
RIENFILMS
MAURICIO FREYRE
[@] rienfilms@gmail.com
[t] +346 2267 4919
160
nuevos caminos
[23] FICVALDIVIA
premiere chilena
chilean premiere
DIRECTOR
BROKEN TONGUE
Principalmente hecha con imgenes del 1 de enero del peridico The
New York Times, desde sus inicios en 1851, hasta 2013, Broken Tongue
MNICA SAVIRN
La cineasta experimental
Mnica Savirn es adems
escritora y curadora
independiente. Originaria de
Madrid, en la actualidad tiene
base en Nueva York, donde
explora las posibilidades
cinemticas del sonido y la
potica avant-garde.
MNICA SAVIRN
161
[23] FICVALDIVIA
new pathways
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
ANSWER PRINT
Un Answer Print es la primera copia en celuloide despus de que el
original haya sido medido plano por plano, con sus fundidos y mezclas
si los hay. La pregunta que responde es cmo van a aparecer las cosas
y qu correcciones, si acaso, son necesarias.
por bill brand
An Answer Print is the first celluloid copy after the original has been
measured, frame by frame, with its fades and crossfades, if any. The
questions it responds are how will things appear and what corrections,
if any, are necessary.
by bill brand
162
NUEVOS CAMINOS
[23] FICVALDIVIA
SUECIA-ESPAA, 2016
DUR 14 // FOR DCP
D, F, E
Eloy Domnguez Sern
G Eloy Domnguez Sern,
Chris Porcarelli
P Michael Krotkiewski
S Leandros Ntounis,
Chris Porcarelli
I Chris Porcarelli
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
RUST
Si un rbol cae en el bosque y no hay nadie que lo escuche, hace algn
sonido? Un paisaje nevado y desierto, un lugar y tiempo desconocidos,
un hombre annimo, sin tiempo, entra a un edificio industrial devastado.
Est rodeado de xido y ruinas, testigos del tiempo. Se mueve entre sombras y basura, en un ritual crptico y preciso. El pasado resuena a cada
paso, ecos de una presencia: una figura solitaria flucta en el abismo.
If a tree falls in a forest and no one is there to hear it, does it make a
sound? A deserted, snow-covered landscape, an unknown place and
time, an anonymous, timeless man slides into a devastated industrial
building. He is enclosed by ruins and rust, the witnesses of time. He
moves among shadows and debris, in a ritual as precise as it is cryptic.
The past resonates at every step, echoes of a presence: a solitary figure
fluctuates in an abyss.
MOMENTO FILM
MICHAEL KROTKIEWSKI
Sdermannagatan 39 - 116 40
Estocolmo, Suecia.
[@] michael@momentofilm.se
[t] +467 0915 2702
163
[23] FICVALDIVIA
NEW PATHWAYS
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
AN AVIATION FIELD
Un aerdromo se extiende en un suburbio desconocido. El lago bajo la
ciudad quema las calles. Las montaas lanzan rocas a los jardines. En
JOANA PIMENTA
SALETTE RAMALHO
Auditorio Municipal Pr
Republica 4480-715 Vila Do
Conde, Portugal.
[@] agencia@curtas.pt
[t] +351 2 5264 6683
164
NUEVOS CAMINOS
[23] FICVALDIVIA
premiere mundial
world premiere
DIRECTOR
UNKNOWN HOURS
Unknown Hours estudia un precario paisaje urbano nocturno. Un
observador pasea por una calle principal de Chicago, hacia un barrio
famoso por su vida nocturna. La imagen en movimiento se ralentiza
para revelar la intermitencia de las luces de la calle y las pantallas
de los televisores en un bar. Una cmara hurga en los momentos
entre eventos.
Unknown Hours studies a precarious urban nightscape. An observer
journeys down a main street in Chicago, towards a neighborhood known
for its nightlife. The moving image is slowed to reveal the intermittence
of streetlights and sports bar televisions. A camera peers into the moments between events.
CALUM WALTER
Cineasta, artista y diseador de
sonido, su trabajo se ha exhibido
en festivales como Nueva York,
Toronto, Rotterdam, FICValdivia
y otros. Realiza diseo sonoro y
sonido directo para sus propias
cintas y ha colaborado con
mltiples artistas como director
de foto, sonidista y diseador de
sonido.
Walter is a filmmaker, artist and
sound designer, whose work has
screened at festivals including
New York, Toronto, Rotterdam,
FICValdivia and others. He does
sound design and recording for his
own films, and has collaborated
with numerous artists as
cinematographer, sound recordist
and designer.
CALUM WALTER
[@] camalgam@gmail.com
[t] +1 720 684 7885
165
[23] FICVALDIVIA
NEW PATHWAYS
FRANCIA-ALEMANIAJAPN, 2016
DUR 14 // FOR DIGITAL
D, G, F, E, S, M
Elise Florenty,
Marcel Turkowsky
P Parkadia with the
support of CNAP
I Sora Kameyama, Mitsuko Hirai,
Megumi Wakabayashi, Junpei
Sahigashi, Junko Hiroshige
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
SHADOW-MACHINE
Una noche de verano ndigo, en un suburbio algo tropical de Japn,
varias personas aisladas se encuentran participes en un juego de luz
y sombra que parece amenazante. Los operadores, de negro, parecen
manipularlos, mientras ellos se abandonan a la idea de ser marionetas.
Pero ninguna ventriloqua a lo ms unas pocas lgrimas o una risa
tras un grito rompe el silencio de la noche.
One indigo summer night, in a rather tropical suburban Japan, several
isolated people find themselves caught in a somewhat threatening game
of shadows and lights. Operators dressed in black seem to manipulate
them as they abandon themselves to the idea of being puppets. Yet
no ventriloquism at most a few tears, or a laugh hidden behind a
scream is tearing the silence of the night apart.
ELISE FLORENTY
MARCEL TRKOWSKY
Integrando cine, video, exhibicin,
publicacin y curatora, Elise
Florenty y Marcel Trkowsky
investigan la multiplicidad del
ser, a travs de un espiral de
metamorfosis que cuestiona
nuestra siempre cambiante
relacin de poder con el Otro (el
enemigo, el animal, el espritu, el
muerto).
Integrating lm, video, exhibition,
publication and curating, Elise
Florenty and Marcel Trkowsky
investigate the multiplicity
of the self through a spiral of
metamorphoses that question our
shifting power relationship with
the Other (the enemy, the animal,
the spirit, the dead).
PARKADIA FILMS
Weichselstr.26 10247 Berln,
Alemania.
ELISE FLORENTY
MARCEL TRKOWSKY
[@] florenty.turkowsky@gmail.com
[t] +4916 3170 1014
166
nuevos caminos
[23] FICVALDIVIA
ESPAA, 2016
DUR 14 // FOR DCP
D, G, P, F, E
Samuel M. Delgado,
Helena Girn
S, M
Juan Carlos Blancas
I Silvia Navarro,
Francisco Prez
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
SAMUEL M. DELGADO
HELENA GIRN
Su obra se encuentra entre la
no-ficcin y la experimentacin,
empleando materiales fsicos
y procesos fotoqumicos.
Sus pelculas han tenido un
amplio recorrido en festivales
internacionales de referencia
como Toronto, New York, Mar del
Plata, FICValdivia y Media City
Film Festival, entre otros.
Their work lies between nonfiction and experimentation,
employing physical materials and
photochemical processes. Their
productions have had an ample
circuit in leading international
festivals, like Toronto, New York,
Mar del Plata, FICValdivia and
Media City Film Festival, among
others.
LA BANDA NEGRA
C/ Ave Mara, 24 31, 28012,
Madrid, Espaa.
SAMUEL M. DELGADO
HELENA GIRN
[@] info@labandanegra.net
[t] +346 1654 6885 +346 7624 8999
167
[23] FICVALDIVIA
new pathways
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
PRELUDE
Fotografiar y editar cine, en estos tiempos tan inciertos, es un placer
profundo e inusitado. Hacerlo es contemplar la conmovedora belleza y
ternura del cine, sus profundidades y alegras, como experiencia humana.
It is a profound and rarified pleasure to be photographing and editing film
at this most tentative of times. To do so is to behold the soulful beauty
and tenderness of cinema, its depths and joys as human experience.
NATHANIEL DORSKY
Dorsky es un cineasta
experimental y montajista
que viene haciendo pelculas
desde 1963. Su trabajo ha sido
objeto de numerosos premios
y subvenciones. Sus filmes se
han presentado en el MoMA, el
Centre Pompidou, el Tate Modern
y tantas otras renombradas
instituciones culturales.
Dorsky is an experimental
filmmaker and editor who has
been making films since 1963.
His work has been the object of
numerous grants and awards.
His films have screened at
the Museum of Modern Art,
the Centre Pompidou, the Tate
Modern and so many other
leading cultural institutions.
LIGHT CONE
ELENI GIOTI
[@] eleni.gioti@lightcone.org
[t] +33 1 4659 0153
168
nuevos caminos
[23] FICVALDIVIA
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
AUTUMN
El otoo, fotografiado durante los ltimos meses del ao de sequa, 2015,
es un universo estacional ntimamente majestuoso, una celebracin
de la emotividad y el misterio de nuestra vejez.
Autumn, photographed during the last months of the drought year, 2015,
is a stately, but intimate, seasonal tome, a celebration of the poignancy
and mystery of our later years.
169
[23] FICVALDIVIA
new pathways
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
THE DREAMER
Este ao, nuestra noche de solsticio de verano estuvo adornada con
una luna llena gloriosa. Las semanas previas fueron mgicamente
vvidas, con brisa fresca, sol brillante y clido y una sensacin general
de abrumadora claridad. The Dreamer nace de esa primavera emotiva
en San Francisco.
This year our mid-summers night was adorned with a glorious full
moon. The weeks and days preceding the solstice were magically alive
with crisp, cool breezes, bright, warm sunlight, and a general sense of
heartbreaking clarity. The Dreamer is born out of this most poignant
San Francisco spring.
170
nuevos caminos
[23] FICVALDIVIA
ESPAA, 2016
DUR 15 // FOR DIGITAL
D, G, P, F, E, S
Luis Lpez Carrasco
I Ivn Malagn, Jess Pareja,
Francisca Lpez, Coti Malagn,
Manolo Snchez
premiere mundial
world premiere
DIRECTOR
FUENTE GRANDE
En la mancomunidad de la Subbtica se produce aceite de oliva mediante mtodos artesanales e industriales. Fuerza laboral, actividad
econmica, concentracin de capital, territorio y paisaje establecen
dos temporalidades que interactan a travs del encuadre.
In the Subbaetic communities, olive oil is produced using artisanal and
industrial methods. Work force, economic activity, wealth concentration,
territory and landscape establish two timeframes that interact within
the frame.
[@] luislopezcarrasco@gmail.com
[t] +346 7865 6554
171
[23] FICVALDIVIA
new pathways
GRECIA, 2016
DUR 28 // FOR DCP
D, G
Loukianos Moshonas
P Paul Conquet, Giannis
Sotiropoulos
F Boris Munger, Paul Guilhaume
E Leonidas Papafotiou,
Loukianos Moshonas
S Fanny Weinzaepflen
M Aigli Drakou
p r e m i e r e l at i n a m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
I Antino Katro,
Loukianos Moshonas,
Panagiotis Oikonomopoulos,
Anastasis Roubakos,
Nikolas Dervenoulias
MANODOPERA
En el primer piso, Andi y otro joven remodelan un departamento. Alto
DIRECTOR
LOUKIANOS MOSHONAS
Cineasta griego-francs, estudia
en Ecole des Beaux-Arts, en Lyon,
Famu, en Praga y Le Fresnoy, en
Lille. Manodopera estrena en
Locarno 2016. Basado en este
film, prepara su primer largo No
Gods, No Masters (Torino Film Lab,
Works in Progress de Karlovy Vary,
New Cinema Network en Roma).
Greek/French filmmaker
Moshonas studied at Ecole
des Beaux-Arts in Lyon, Famu
in Prague, and Le Fresnoy in
Lille. Manodopera premiered in
Locarno 2016. Based on this film,
he prepares his first feature No
Gods, No Masters (Torino Film Lab,
Karlovy Varys Works in Progress,
Romes New Cinema Network).
GIANNIS SOTIROPOULOS
[@] realeyesprods@gmail.com
[t] +3069 7307 0480
172
nuevos caminos
[23] FICVALDIVIA
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
INDEFINITE PITCH
Un pitch cinematogrfico pattico en Berln se desliza a la oscuridad
de la memoria, junto a los mejores olvidos y los ignorados a propsito
de la historia.
A pathetic movie pitch set in Berlin slips into the murkiness of memory
and historys best forgotten or purposely ignored.
[@] info@automaticmoving.com
[t] +1 207 576 6053
173
[23] FICVALDIVIA
new pathways
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
FRUCTOSE
En Inglaterra, el gobierno ha preservado el manzano del que supuestamente cay la manzana sobre Newton. La historia real es que un
IVN ARGOTE
GALLERIE PERROTIN
GLORIA SENSI
[@] paris@perrotin.com
174
nuevos caminos
[23] FICVALDIVIA
FRANCIA, 2016
DUR 13 // FOR DIGITAL
D, G
Camilo Restrepo
P Joanna Sitkowska, Anne Luthaud
F Guillaume Mazloum,
Camilo Restrepo
E Bndicte Cazauran,
Camilo Restrepo
S Mathieu Farnarier,
Josefina Rodrguez
M Christine Salem,
Harry Perigone
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
CILAOS
DIRECTOR
CAMILO RESTREPO
Retrepo vive y trabaja en Pars
desde 1999. Con tres cortos
anteriores, es miembro de
LAbominable, laboratorio
independiente de cineastas que
trabaja en celuloide.
find him. With the spellbinding rhythm of the Maloya in the background,
a ritual chant from Reunion Island, Cilaos explores the deep, murky ties
LE G.R.E.C.
MARIE-ANNE CAMPOS
[@] macampos@grec-info.com
[t] +33 1 4489 9999
DISIDENCIAS
DISSIDENCES
Miradas contingentes sobre los procesos polticos, econmicos,
sociales, religiosos y ambientales que nos permiten generar un
debate y reflexin sobre el mundo que estamos construyendo.
Current views on political, economic, social, religious and environmental processes that allow us to generate a debate, to reflect,
about the world we are building.
177
[23] FICVALDIVIA
dissidences
CANAD-ALEMANIA, 2016
DUR 86 // FOR DCP
D, G
Zayn Akyol
P Yanick Ltourneau, Colette
Loumde (NFB), Mehmet Akta
F Etienne Roussy
E Mathieu Bouchard-Malo
S Vincent Laroche-Gagnon,
Adel Ton
I Sozdar Cud, Rojen Brtan,
Nupelda Herekol, lan Doxan
premiere chilena
chilean premiere
DIRECTOR
ZAYN AKYOL
Laureada cineasta de
origen kurdo, Akyol estudia
comunicaciones en Universit
du Qubec, con concentracin
en cine. En 2009, produce
su primer corto documental
Isminaz, Premio del Jurado en la
competencia International Roots
de Radio-Canada.
armed militants of the so-called Islamic State group), all while embodying
a revolutionary ideal advocating female empowerment.
Award-winning filmmaker of
Kurdish origin, Akyol studied
Communications at Universit
du Qubec, concentrating in film.
In 2009, she produced her first
short documentary Isminaz,
Jury Prize in the Radio-Canada
International Roots competition.
NATIONAL FILM
BOARD OF CANADA
3155 Cte de Liesse Road,
Montreal (Qubec) H4N 2N4,
Canad.
ERIC SEGUIN
[@] e.seguin@nfb.ca
[@] e.seguin@onf.ca
178
disidencias
[23] FICVALDIVIA
MXICO, 2016
DUR 70 // FOR DCP
D, F
Juan Manuel Seplveda
G Juan Manuel Seplveda,
David Cunningham
P Juan Manuel Seplveda,
Elsa Reyes, Isidore Bethel
S Pablo Fernndez,
Jos Miguel Henrquez
E Isidore Bethel, Len Felipe
Gonzlez, Juan Manuel
Seplveda
I Harley Prosper, Marcus
premiere chilena
chilean premiere
DIRECTOR
INSTITUTO MEXICANO DE
CINEMATOGRAFA IMCINE
Insurgentes Sur 674, Col. Del
Valle, CP 03100, Benito Jurez,
Ciudad de Mxico
LARIZA MELO
[@] festivals@imcine.gob.mx
[t] +5255 5448 5345
179
[23] FICVALDIVIA
dissidences
ARGENTINA, 2016
DUR 135 // FOR DCP
D, G
Edgardo Castro
P Bomba Cine, El Pampero Cine,
Edgardo Castro
F Yarar Rodriguez
E Miguel de Zuvira
S Nicols Payueta, Manoel
Hayne, Gabriel Barredo,
Monociclo Sonido
premiere internacional
i n t e r n at i o n a l p r e m i e r e
LA NOCHE
Un camino vertiginoso, infinito y nico por todos los reveses nocturnos;
DIRECTOR
EDGARDO CASTRO
Director, actor y artista visual
bonaerense, ha trabajado en cine
junto a Martn Rejtman, Mariano
Llins, Diego Lerman, Albertina
Carri y Alejo Moguillansky, entre
otros. Es integrante fundador
del Grupo KRAPP (danza-teatro)
surgido en 2000. La Noche es su
pera prima.
Buenos Aires-born director,
actor and visual artist, Castro
has worked in film along with
Martn Rejtman, Mariano Llins,
Diego Lerman, Albertina Carri
and Alejo Moguillansky, among
others. He is a founding member
of Grupo KRAPP (dance-theater),
established in 2000. La Noche is
his opera prima.
BOMBA CINE
FLORENCIA DE MUGICA
[@] flordemugica@gmail.com
[t] +54 911 5053 5821
180
disidencias
[23] FICVALDIVIA
LBANO-FRANCIA, 2016
DUR 67 // FOR DIGITAL
D, G
Maher Abi Samra
P Sabine Sidawi, Jinane Dagher
F Claire Mathon
E Rana Sabbagha, Ruben
Korenfeld
S Moncef Taleb
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
justice, police are on his side. He decides to open his agency for us.
HANNAH HORNER
[@] h.horner@docandfilm.com
[t] +33 1 4277 8966
NOCTURAMA
NOCTURAMA
Lo gracioso, lo bizarro, lo extremo se unen en una sola
pelcula elegida especialmente para la ocasin para celebrar en el presente lo que ser un clsico de culto del futuro.
The funny, the bizarre, the extreme come together in one
single movie, chosen especially for the occasion, to celebrate
today what will be a cult classic tomorrow.
183
[23] FICVALDIVIA
nocturama
p r e m i e r e l at i n oa m e r i ca n a
l at i n a m e r i ca n p r e m i e r e
DIRECTOR
TRAIN TO BUSAN
Soo-An quiere viajar con su padre a Busan, a ver a su mam. l acepta
a regaadientes, pues estn separados. Antes de que parta el tren,
YEON SANG-HO
Soo-An wants to travel with her father to Busan, to visit her mother. He
accepts grudgingly, as they are separated. Before the train departs, a
zombie rushed into the car, becoming trapped when the doors close,
by ral camargo
BF DISTRIBUTION
FRANCISCA SALINAS
[@] francisca@bfdistribution.cl
[t] +56 9 8902 4178
PRIMERAS NACIONES
FIRST NATIONS
FICValdivia aborda el cine realizado por cineastas de pueblos
originarios de todo el mundo, posibilitando un encuentro multicultural y un espacio de reflexin sobre nuestra condicin
plurinacional.
FICValdivia explores the pictures made by Native filmmakers from
around the world, enabling a multicultural encounter and a space
for reflection about our plurinational condition.
187
[23] FICVALDIVIA
first nations
CHILE, 2016
DUR 79 // FOR DCP
D, G
Hans Mlchi
P Flor Rubina
F Enrique Ramrez
E Camilo Campi
S Juan Pablo Manrquez
M Subhira
I Celina y Rosa
DIRECTOR
ALAS DE MAR
Celina y Rosa, dos de las pocas personas vivas de la etnia kawsqar,
vuelven a los mares donde navegaron en canoas antes de ser trasplantadas a Occidente. Las acompaan Christoph y Marcia, cientficos suizos
a quienes ensean su mundo de ballenas y icebergs. En la travesa, el
cineasta intenta retratar a los kawsqar con dignidad, despus de las
muchas puestas en escena en que han sido vulnerados.
Celina and Rosa, two of the few living people of the Kawsqar ethnic
group, return to the seas where they sailed in canoes, before being
transplanted to the West. With them are Christoph and Marcia, two
Swiss scientists they show their world of whales and icebergs to. In the
journey, the filmmaker tries to portray the Kawsqar with dignity, one
HANS MLCHI
Periodista, licenciado en Historia
y Mster en Documental, es
coguionista de Antofagasta, el
Hollywood de Sudamrica, Mejor
Documental en el Festival de Cine
Independiente de Nueva York.
Dirige el premiado documental
Calafate, Zoolgicos Humanos
(2011). Alas de Mar es su segundo
largometraje.
BLUME PRODUCCIONES
FLOR RUBINA
[@] flor@blume.cl
[t] +56 9 8416 9258
primeras naciones
188
[23] FICVALDIVIA
10 MUESTRA CINE
+ VIDEO INDGENA
with her the brand of being different and the dilemma: to choose
between loving Tarciso, with the responsibilities that implies,
to be a Warao woman, or, on the contrary, to follow her calling,
at the risk of having to pay the consequences...
HIJA DE LA LAGUNA
En un punto lgido de la fiebre de oro en Per, Nlida, una
mujer en los Andes que habla con los espritus del agua,
emplea sus facultades para enfrentarse a una minera que
amenaza con destruir la laguna que ella considera su madre.
At the height of the Peruvian gold rush, Nelida, an Andean woman able to communicate with water spirits, uses her powers
PER, 2015 DUR 87 // FOR DIGITAL
D Ernesto Cabellos
191
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CHILE-ARGENTINA-FRANCIAESPAA, 2016
DUR 108 // FOR DCP
D Pablo Larran
G Guillermo Caldern
P Juan de Dios Larran
F Sergio Armstrong
E Herv Schneid
S Miguel Hormzabal
M Federico Jusid
I Gael Garca Bernal,
Luis Gnecco, Mercedes Morn
NERUDA
DIRECTOR
PABLO LARRAN
En 2005 Pablo Larran dirige su
primer largo, Fuga. Dirige Tony
Manero en 2007. Post Mortem
es su tercer largometraje. No, su
cuarta pelcula es nominada al
Oscar. El Club (2015) es su quinto
largo. En 2016 estrena Neruda
y Jackie.
In 2005, Pablo Larran directed
his first feature, Fuga. He directed
Tony Manero in 2007. Post Mortem
is his third full-length. His fourth
feature, No, was nominated to
the Oscars. El Club (2015) is his
fifth feature-length. In 2016, he
premiered Neruda and Jackie.
FABULA
ROCO JADUE
[@] rocio@fabula.cl
[t] +56 2 2344 0908
192
[23] FICVALDIVIA
CHILE-MXICOCOLOMBIA, 2016
DUR 80 // FOR DCP
D Andrs Waissbluth
G Daniel Laguna, Miguel ngel
Labarca, Andrs Waissbluth
P Macarena Cardone, Macarena
Concha, Matas Cardone,
Federico Durn, Leonardo
Zimbrn, Andrs Waissbluth
F Enrique Stindt
E Adriana Martnez,
Soledad Salfate
S Boris Herrera
DIRECTOR
ANDRS WAISSBLUTH
En 2003, dirige su primer
largometraje Los Debutantes al
que le sigue, en 2008, 199 Recetas
para Ser Feliz. En 2016, estrena
Un Caballo llamado Elefante.
Entre sus cortos, documentales
y largometrajes, ha cosechado
decenas de premios y estrenado
comercialmente en ms de 15
pases.
In 2003, Waissbluth directed his
first feature Los Debutantes,
followed, in 2008, by 199 Recetas
para Ser Feliz. In 2016, he
premiered Un Caballo llamado
Elefante. Between shorts,
documentaries and full-lengths,
he has collected tens of awards,
releasing commercially in over 15
countries.
INVERCINE
Copihue 2899, Providencia,
Santiago, Chile.
[@] awaissbluth@gmail.com
[@] macardone@gmail.com
[t] +56 9 9779 9280
[23] FICVALDIVIA
193
CHILE, 2016
DUR 81 // FOR DCP
D, G, M
Alex Anwandter
P Isabel Orellana, Fernanda
Montesi, Alex Anwandter,
Daniel Dreifuss
F Matas Illanes
E Felipe Glvez, Alex Anwandter
S Diego Aguilar
I Sergio Hernndez, Andrew
Tras el violento ataque que sufri su joven hijo gay, Juan, un retrado
administrador en una fbrica de maniques, lucha entre pagar las
DIRECTOR
exorbitantes cuentas mdicas del joven y el esfuerzo por transformarse en socio de su jefe. Enfrentado a callejones sin salida y traiciones
inesperadas, descubrir que el mundo que crea conocer estaba listo
para ser violento con l tambin. Ya cometi muchos errores, pero su
hijo an puede salvarse.
ALEX ANWANDTER
After his young gay son suffered a violent attack, Juan, an introspect
manager at a mannequin factory, struggles to pay his outrageous medical
bills, while trying to become a partner at the firm. Facing dead-ends and
unexpected betrayals, he will discover that the world he thought he knew
is quite prepared to be violent with him too. He has already made many
mistakes, but his son might make it still.
ARAUCARIA CINE
ISABEL ORELLANA
[@] isaorellanag@araucariacine.com
[t] +33 7 5298 6916
194
[23] FICVALDIVIA
DIRECTOR
ALEJANDRO FERNNDEZ
JIRAFA
JOAQUN ECHEVERRA
[@] contacto@jirafa.cl
[t] +56 63 221 3556
195
[23] FICVALDIVIA
CHILE, 2016
DUR 82 // FOR DCP
D, G
Carlos Leiva
P Felipe Aza, Rebeca
Gutirrez, Dominga Sotomayor
F Felipe Bello
E Macarena Yurjevic,
Carlos Leiva
S Carlo Snchez, Juan Pablo
Pez, Andrs Zelada
M Cristbal Briceo
EL PRIMERO DE LA FAMILIA
En un suburbio de Santiago, Toms pasa su ltimo fin de semana en
familia, antes de viajar para continuar sus estudios en Europa. Un
problema en el sistema de alcantarillado produce una inundacin de
DIRECTOR
CARLOS LEIVA
Director audiovisual de la
Universidad Catlica, actualmente
estudiante de Magister en
Literatura. Ha realizado varios
cortometrajes destacados a nivel
nacional e internacional como
El Hijo (2007), Ambiente Familiar
(2008) y El 10 (2011).
Audiovisual director from
Universidad Catlica, Leiva is
currently pursuing a Masters in
Literature. He has made several
shorts, which garnered attention
nationally and abroad, such as
El Hijo (2007), Ambiente Familiar
(2008) and El 10 (2011).
AVISPA CINE
FELIPE AZA
[@] felipeazua@gmail.com
[t] +56 9 5482 6720
196
[23] FICVALDIVIA
CHILE-FRANCIA, 2016
DUR 76 // FOR DCP
D, G
Francisco Herv
P Francisco Herv,
Vernica Lyon, Xavier Rocher
F David Bravo
S Boris Herrera, Claudio
Vargas, Sonamos
M Fernando Milagros Vera,
Marcelo Wilson
E Andrea Chignoli,
Francisco Herv
I Jaime Vadell
LA CIUDAD PERDIDA
Aysn, una regin de la Patagonia Chilena, es del tamao de Inglaterra,
DIRECTOR
pero tiene slo noventa mil habitantes. Viven aislados, casi sin caminos,
en un paisaje deslumbrante y violento. En algn rincn de este mundo
perdido, una ciudad misteriosa se esconde. Hace quinientos aos, un
grupo de conquistadores construy La Ciudad de Oro. Quien entra all
se hace inmortal, pero pierde la memoria. Es la Ciudad de los Cesares
y has venido a encontrarla.
Aysn, a region in the Chilean Patagonia, is the size of England, but it
only has 90,000 inhabitants. They live isolated, almost without roads,
surrounded by a stunning, yet violent, landscape. In some corner of this
lost world, a mysterious city hides. Five hundred years ago, a group of
conquistadors built a Golden City. Those that enter it become immortal, but
lose their memory. It is the City of the Caesars, and you are here to find it.
FRANCISCO HERV
Director y productor chileno, ha
escrito y dirigido documentales y
series de TV, destacando El Poder
de la Palabra (2009), estrenado
en IDFA, premiado en FICValdivia
y objeto del Premio Altazor a la
Mejor Direccin Documental
en 2010. La Ciudad Perdida
se estrena en la competencia
internacional de Visions du
Reel 2016.
Chilean director and producer,
Herv has written and directed
documentaries and TV series,
such as El Poder de la Palabra
(2009), premiered in IDFA, awarded
at FICValdivia, and recipient
of the Altazor Award for Best
Documentary Director, in 2010.
La Ciudad Perdida premiered in
the international competition at
Visions du Reel 2016.
PANCHITO
FILMS
VERNICA LYON
FRANCISCO HERV
[@] veronica@panchitofilms.cl
[t] +56 9 9782 6356
197
[23] FICVALDIVIA
CHILE, 2016
DUR 45 // FOR DCP
D, F
Antonio Carrillo
G Antonio Carrillo,
Diego Salazar
P Diego Salazar
E Arlen Prez
S Matas Serrano
M Milton Nez Mora
premiere mundial
world premiere
DIRECTOR
ANTONIO CARRILLO
Periodista y realizador de
la Universidad de Chile
especializado cine documental,
es actualmente director y
guionista de las series de TV La
Bicicleta, Cultura entre Ruedas y
Olla Nmade, ambas para Canal
13C, mientras desarrolla su
segundo documental largo. La
Sombra del Canto es su primer
largometraje.
ALURO35 PRODUCCIONES
ANTONIO CARRILLO
[@] aluro35producciones@gmail.com
[t] +56 9 9129 1246
199
retrospective program
MUESTRA RETROSPECTIVA
LA LECCIN DE CINE
THE CINEMA LESSON
Una clase magistral sobre el cine expresada en una pelcula, en una
obra maestra que ya es parte de la propia historia de la disciplina y
que se exhibe en carcter retrospectivo en el festival.
A cinema master class expressed in a single title, a masterpiece
that has become part of the disciplines history, screening as a
retrospective at our festival.
203
[23] FICVALDIVIA
DIRECTOR
WIM WENDERS
Felix travels the US with the assignment of writing a chronicle of his
journey, but suffers writers block. Defeated, he decides to return to
his home in Germany, meeting a woman in the airport who disappears,
leaving her daughter Alice in his care. Thus, both abandoned beings strike
up a deep friendship, traveling through different cities in the world, in
search of this fleeting woman.
ISABEL MARDONES
[@] isabel.mardones@santiago.goethe.org
204
la leccin de cine
[23] FICVALDIVIA
FRANCIA, 1983
DUR 105 // FOR DCP
D Ral Ruiz
G Ral Ruiz, Jean Racine
P Franoise Mazerat
F Franois Ede
E Martine Bouquin
M Jorge Arriagada
I Anne Alvaro, Jean Badin,
Franck Oger, Claude Derepp,
Jean-Bernard Guillard
DIRECTOR
BRNICE
Libremente inspirada en la obra de Racine, Brnice es el resultado del
trabajo de luces, sombras, fuera de campo y lectura de textos con que el
director chileno experimenta y juega con la puesta en escena, dotando
al papel protagnico de Anne Alvaro de un aura surrealista y espectral
tan propia de su cine, pero que en esta obra alcanza su punto clmine.
Freely inspired in Racines work, Brnice is the result of the Chilean
directors experimentation with the play of light and shadow, the offscreen and the reading of texts, to arrive at a mise-en scne that endows
Anne Alvaros starring role with a ghostly, surrealist aura, so much a part
of his films, but that in this instance reaches its pinnacle.
RAL RUIZ
El cineasta ms importante de
la historia de Chile y uno de los
autores ms prolficos del mundo,
entre sus obras destacan Tres
Tristes Tigres, Palomita Blanca,
Las Tres Coronas del Marinero,
El Techo de la Ballena, El Tiempo
Recobrado, Misterios de Lisboa,
entre muchsimas otras.
The most important filmmaker
in Chilean history, and one of the
most prolific authors in the world,
key among Ruizs myriad films
are Tres Tristes Tigres, Palomita
Blanca, Las Tres Coronas del
Marinero, El Techo de la Ballena,
El Tiempo Recobrado, Misterios de
Lisboa and many, many more.
CINETECA NACIONAL
PABLO INSUNZA
[@] pablo.insunza@cinetecanacional.cl
[23] FICVALDIVIA
205
DIRECTOR
The movie is made up of brief scenes that were not used in the films from
1960-2000, along with self-referencing archive video footage: brief glances
of family, friends, girlfriends, the city, the seasons, travels. Occasionally,
I speak, reminisce or play some music from those years, together with
piano improvisations. It is a kind of autobiographical poem, a journal,
a celebration of life and happiness. I consider myself a happy man.
by jonas mekas
PIP CHODOROV
[@] pip@jonasmekasfilms.com
JONAS MEKAS
Simplemente, el ms grande los
cineastas experimentales de la
historia del cine.
Simply put, the greatest
experimental filmmaker in the
history of cinema.
TOTALMENTE SALVAJE:
GERMAN EDITION
ABSOLUTELY WILD: GERMAN EDITION
Revisin en carcter retrospectivo de films de culto, este ao dedicada
a producciones alemanas. Todas sern exhibidas en celuloide, as que
las escenas perdidas, los cortes y las rayas sern la norma.
A retrospective view of cult films, this year dedicated to German
productions. All of them will show in celluloid, so that lost scenes, cuts
and scratches will be the norm.
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209
ABSOLUTELY WILD
ALEMANIA OCCIDENTAL,
1969
DUR 88 // FOR 35MM
D, G
Peter Fleischmann
P Jrgen Dohme, Rob Houwer
F Alain Derobe
E Barbara Mondry, Jane Seitz
S Karl-Heinz Frank
I Martin Sperr, Angela
Winkler, Else Quecke, Maria
Stadler, Michael Strixner,
DIRECTOR
Fleischmanns opera prima is reminiscent of The White Ribbon by Michael Haneke, as it portrays the underground horrors in a small village
in Germany. There, a young mechanic is accused of being gay by the
conservative micro-society he lives in. Martin Sperr, the protagonist, is
also author of the play this fierce and brutal film is based on.
by gonzalo maza
PETER FLEISCHMANN
El director, productor, actor,
guionista y editor de cine alemn
estudia en Francia y en Munich. Su
filmografa comprende 50 aos de
actividad, sobresaliendo Escenas
de Caza en Baja Baviera, El Virus
de Hamburgo y El poder de un Dios,
entre otros.
German director, producer, actor,
scriptwriter and film editor Peter
Fleischmann studied in France and
Munich. His filmography spans 50
years of activity, with such titles
as Hunting Scenes from Bavaria,
Illness of Hamburg and Hard to be a
God, among others.
210
totalmente salvaje
EL SUPERMAN REBELDE
Tal como en El Da de la Marmota y la serie de TV ochentera El Superhroe Americano,
[23] FICVALDIVIA
ALEMANIA OCCIDENTAL,
1959
DUR 99 // FOR 35MM
esta rareza (una comedia de ciencia ficcin alemana en los aos 50) se inscribe en
D Ladislao Vajda
este caso, poder atravesar las paredes y de paso espiar a la vecina. Fantasa camp
como pocas, dirigida por el austro-hngaro Vajda.
Just like in Groundhogs Day and the 1980s TV series The Greatest American Hero,
F Bruno Mondi
this oddity (a German sci-fi comedy in the 50s) belongs to the subgenre of normal
E Hermann Haller
humans that suddenly gain superpowers; in this case, the ability to go through walls
S Walter Rhland
and incidentally spy on the girl next door. A camp fantasy as few others, it was directed
M Franz Grothe
by Austro-Hungarian Vajda.
by gonzalo maza
ALEMANIA OCCIDENTAL,
1978
DUR 79 // 16MM
LADY DRCULA
pelculas lamentables, excusas para espiar damiselas en topless, jugar con efectos
F Fritz Baader,
especiales y rellenar el resto con humor negro. Un film perfecto para esta seccin.
La bomba sexy suiza Evelyne Kraft es la estrella de esta debilidad en la que cay
Ernst W. Kalinke
M Horst Jankowski
Swiss sex-bomb Evelyne Kraft stars on this flick, part of this weakness world cinema
developed in the 70s for vampire comedies. In general, they are unfortunate films,
excuses to spy on topless damsels, play with special effects and fill the rest with black
humor. A perfect film for this section.
por gonzalo maza
by gonzalo maza
VHS ERTICO
EROTIC VHS
Films clsicos del cine para adultos, este ao la seccin estar dedicada
a las producciones argentinas, las cuales sern exhibidas en el ms
popular de los formatos hogareos: el querido VHS.
Classic adult films, this year, exploring Argentinean pictures, which will
screen in the most popular home format: dear VHS.
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213
EROTIC VHS
ARGENTINA, 1973
DUR 90 // FOR VHS
D, G, P
Armando Bo
F Amrico Hoss
M Alain Debray
E Rosalino Caterbeti
I Isabel Sarli, Armando Bo,
Jorge Barreiro, Juan Jos
Miguez, Hugo Mjica, Mario
Casado
FURIA INFERNAL
Brbara, bellsima y sensual strip-teaser, acta para su pblico; uno de
DIRECTOR
ARMANDO BO
Barbara, a gorgeous and sensual stripper, performs for her audience; one
of them is Martn Sotomayor, a rich landowner who decides to make her
his by force. The mans sons kidnap the beautiful woman, after having
killed her husband. Like that, they carry her off to the vast domains
Sotomayor owns in frozen steppes of the Argentinean south
Bo es el recordado protagonista
del clsico del cine argentino
Pelota de Trapo. Como director
de cine su nombre est unido
indefectiblemente al de Isabel
Sarli, el gran monumento del cine
ertico latinoamericano, a la cual
dirigi en 28 pelculas, incluyendo
clsicos como El Trueno entre las
Hojas, Carne, Fuego, Intimidades
de una Cualquiera y Furia Infernal.
Bo is the memorable protagonist
of the Argentine classic Pelota
de Trapo. As a film director, his
name is inextricably tied to Isabel
Sarlis, the great monument of
Latin American erotic cinema.
He directed her in 28 pictures,
including classics like El Trueno
entre las Hojas, Carne, Fuego,
Intimidades de una Cualquiera and
Furia Infernal.
vhs ertico
214
[23] FICVALDIVIA
LA NUEVA CIGARRA
En este hotel todo el mundo se concentra para hacer lo imaginable y
lo otro tambin. Sin previo aviso, nadie puede salir por orden pblica.
Parejas excntricas, normales y anormales tienen que vivir juntos
en un nido que se transforma en un postre sexualmente jugoso
con toneladas de risas y ms risas...
In this hotel, people congregate to do the imaginable, and the other
too. Without warning, no one can come out, due to a public ordinance. Eccentric, normal and abnormal couples have to live together in
this nest that becomes a sexually juicy desert, with tons and tons
of laughter
ARGENTINA, 1977
DUR 90 // FOR VHS
D Fernando Siro
P Toto Rey
I Olga Zubarry, Mara Aurelia Bisutti, Alberto Martn,
Ernesto Bianco, Gog Andreu, Cristina Del Valle,
Osvaldo Terranova, Vicente Rubino, Enrique Pinti,
Ricardo Darn
LAS GUACHAS
A muy corta edad, dos hermanas quedan hurfanas por el brutal
asesinato de sus padres. Viven en la estancia Pedernera, a cargo
de una ta. Rebelda, odio, rencor son los sentimientos con los que
crecen las nias. Ya no tan pequeas, hacen realidad sus ansias de
sexo, venganza y muerte.
At a very young age, two sisters are orphaned by the brutal murder
of their parents. They live in Pedernera ranch, under the tutelage of
their aunt. Rebelliousness, hatred and resentment are the feelings
they grow up with. Not so little anymore, they fulfill their lust for sex,
revenge and death.
ARGENTINA, 1993
DUR 90 // FOR VHS
CLSICOS EN TECHNICOLOR
TECHNICOLOR CLASSICS
Revisin en carcter retrospectivo y en celuloide de las pelculas
clsicas de los gneros ms populares: comedia, western, suspenso,
cine negro, blico y de accin, exhibidas en Technicolor y Cinemascope.
A retrospective review, in celluloid, of the classic films in the most popular
genres: comedy, western, thriller, noir, war and action movies, screened
in Technicolor and Cinemascope.
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217
TECHNICOLOR CLASSICS
SEBASTIAN
La guerra fra trajo el surgimiento de personajes perifricos al fenmeno
Bond. Sebastian es uno de ellos: jefe de un departamento secreto del
DIRECTOR
The Cold War brought the rise of characters that were accessory to
the Bond phenomenon. Sebastian in one of them: the head of a secret
department in the British government, in charge of breaking the codes
used by Russians and other powers. This is the life of a lonely, obsessive
and aggressive man.
by ja i m e c r d ova
DAVID GREENE
Su carrera comienza como actor
y director de teatro en el Reino
Unido, en 1948. En 1950 aparece
en la cinta The Wooden Horse.
En Hollywood, a Greene se le
reconoce por sus producciones
para cine y TV, las que incluyen
Children of the Dust, Sebastian,
Gray Lady Down y Hard Country.
His career began as a stage actor
and director in Britain, in 1948.
In 1950, he appeared in the film
The Wooden Horse. In Hollywood,
Greene became best known for
television and film productions. His
films include Children of the Dust,
Sebastian, Gray Lady Down and
Hard Country.
CLSICOS EN TECHNICOLOR
218
[23] FICVALDIVIA
D Richard Quine
P Hugh Perceval
I William Holden, Nancy Kwan, Sylvia Syms,
Michael Wilding, Laurence Naismith, Jacqui Chan,
Lionel Blair
EL PISTOLERO RELMPAGO
Clint Cooper es un muchacho que no para de meterse en problemas.
Hace aos que se fue del pueblo, pero ahora retorna a buscar lo que
es de l. En el camino se topa con una banda de asaltantes; si bien
escapa, se entera que van a asaltar el pueblo. Al llegar, encuentra
los resentimientos que dejaron sus fechoras de adolescente, pero
todos deben unirse o esa noche el pueblo ser saqueado.
p o r ja i m e c r d ova
Clint Cooper is a young man that cant stay away from trouble. He
left town years ago, but now he is back to get what is his. On the way
there, he runs into a band of robbers; although he manages to escape,
he finds out they plan to rob the town. When he arrives, he finds all
the resentment his teen mischief left behind, but everyone must pull
together or that night the town will be plundered.
by ja i m e c r d ova
D Sidney Salkow
P Grant Whytock
I Audie Murphy, Merry Anders, James Best, Ted de Corsia,
Walter Sande
219
uach program
MUESTRA UACH
MUESTRA 60 ANIVERSARIO
FACULTAD DE FILOSOFA Y
HUMANIDADES UACH
60TH ANNIVERSARY PHILOSOPHY AND
HUMANITIES FACULTY PROGRAM
Seccin especial programada por profesores y autoridades de Filosofa y
Humanidades de la Universidad Austral de Chile, que reflexiona a partir
de pelculas que unen movimientos sociales y mundo universitario,
celebrando los 60 aos de esta facultad.
A special section programmed by Philosophy and Humanities teachers
and authorities, from Universidad Austral de Chile, pondering films
that unite social movement and the university world celebrating 60
years of this faculty.
223
[23] FICVALDIVIA
EL GRITO
Es el movimiento estudiantil de 1968 en Mxico: estudiantes del Centro Universitario
uach program
MXICO, 1968
DUR 120 //
FOR DIGITAL
y filman los acontecimientos. Ocho horas de imgenes fueron editadas para crear
P Jos Rovirosa
E Ramn Aupart
S Rodolfo Snchez Alvarado
The 1968 student movement in Mexico: students at the University Center for Film
M scar Chvez
Studies occupy the school, and use the equipment and material available to shoot
what was taking place. Eight hours of images were edited to create this documentary,
only film testimony from inside the movement, a combination of political militancy
and emotiveness: a hard, terrible and perturbing movie about the events that led to
the Tlatelolco Massacre.
CHILE, 2004
DUR 82 //
FOR DIGITAL
D Pachi Bustos, Jorge Leiva
G Pachi Bustos, Jorge Leiva,
Ren Varas
P Marcela Betancourt,
Mireya Leyton
ACTORES SECUNDARIOS
Durante los 80, distintos actores sociales lucharon contra la dictadura chilena. Esta
es la historia de los ms jvenes, que desde liceos y calles se jugaban la vida por una
sociedad mejor, el movimiento estudiantil secundario contra Pinochet. Su historia
y su presente retratan una parte escondida del Chile de hoy.
During the 80s, different social actors took on the struggle against dictatorship in Chile.
F Pablo Valds
This is the story of the youngest of them, who risked their lives for a better society, in
E Claudio Gonzlez
public schools and the streets, the high school student movement against Pinochet.
M Sebastin Valsecchi
Their history and their present portray a hidden aspect of present-day Chile.
224
MUESTRA UACH
LOS EDUKADORES
[23] FICVALDIVIA
ALEMANIA, 2004
DUR 127 // FOR DIGITAL
Jan y Peter son dos amigos profundamente anticapitalistas que deciden llevar a
cabo una serie de intervenciones no violentas en casas de familias adineradas, para
hacerles sentir inseguros. Se autodenominan Los Edukadores. Pronto se les une Jule,
la novia de Peter. Los problemas se suscitan cuando ella empieza a sentir algo ms
que amistad por Jan. Esto y una de las intervenciones no resulta como esperaban
Jan and Peter are two profoundly anticapitalist friends, who decide to carry out a
series of non-violent interventions in wealthy households, to make them feel unsafe.
They call themselves The Edukators. Soon, Jule, Peters girlfriend, will join in the action.
D Hans Weingartner
G Katharina Held, Hans
Weingartner
P Karsten Aurich, Antonin
Svoboda
F Matthias Schellenberg,
Daniela Knapp
E Dirk Oetelshoven,
Andreas Wodraschke
Problems begin when she starts feeling more than friendship for Jan. Plus, one of the
S Benjamin Riesenfeld,
Uwe Dresch
M Andreas Wodraschke
I Julia Jentsch, Daniel Brhl,
Stipe Erceg, Burghart
CHILE, 2008
DUR 85 // FOR DIGITAL
D, G, F, E
Jaime Daz Lavanchy
P Francisca Araya
S Pedro Ormeo
M Jorge Aliaga
MUESTRA FACULTAD
ARQUITECTURA Y ARTE UACH
UACH ARQUITECTURE AND ART FACULTY PROGRAM
Seccin especial programada por profesores y autoridades de Arquitectura y Arte, que reflexiona sobre el cine y la msica, las artes visuales y la
arquitectura, celebrando el nacimiento de esta nueva facultad de nuestra
Universidad Austral de Chile.
A special series programmed by teachers and authorities from Architecture
and Art, which contemplates cinema, music, visual arts and architecture
celebrating the birth of this new faculty, at our Universidad Austral de Chile
227
[23] FICVALDIVIA
EN BUSCA DE PANCHO
El viaje de un estudiante tras la huella del arquitecto, escultor y pintor Amancio
dAlpoim Guedes en la ciudad de Maputo, Mozambique.
SUDFRICA, 2010
DUR 10 //
FOR DIGITAL
D Christopher Bisset
The journey of a student after the trail of architect, sculptor and painter Amancio
dAlpoim Guedes in the city of Maputo, Mozambique.
DINAMARCA, 2012
DUR 83 //
FOR DIGITAL
D Andreas Dalsgaard
LA ESCALA HUMANA
La Escala Humana rene a pensadores, arquitectos y urbanistas de todo el mundo,
cuestionando nuestros supuestos acerca de la modernidad, explorando lo que
sucede cuando son las personas el centro de la planificacin.
The Human Scale gathers thinkers, architects and urban planners from around the
world, questioning our assumptions regarding modernity, exploring what happens
when people are at the center of our plans.
228
MUESTRA UACH
[23] FICVALDIVIA
CHILE, 2016
DUR 59 // FOR DIGITAL
D Gonzalo Rabanal
G Paul Birke, Gonzalo
Rabanal, Jorge Hernndez,
Rodrigo Gmez Mura
P Jorge Hernndez
First episode in a three-part series about art in action in Chile, this one corresponding
to the years 1973 to 1987: This is art linked to memory, action and life, to recovering
silenced, annulled narratives, to leave a precedent a bear in mind.
F Gonzalo Rabanal,
Fernando Mendoza,
Javiera Consuelo Gatica
E Gonzalo Rabanal,
Rodrigo Gmez Mura
S Rodolfo Vivanco, Nico Ponce
I Ronald Kay, Ral Zurita,
Mnica Echeverra, Carmen
Berenguer
CHILE, 2016
DUR 75 // FOR DIGITAL
D, G, E
Juan Romero Frh
P Anne Romero
F Carlos Romero
The rescue and restoration of a grand piano. The reunion of a family with the heart
S Lucas Romero
of their past.
M Debussy, Chopin
I Michael Becker, Uwe Weber,
Birgit Salgado
MUESTRA UACH
230
COLABORADORES
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CHILDRENS VALDIVIA
INTERNATIONAL FILM FESTIVAL
The Valdivia International Film Festival for Children (FICVIN) brings to the
screen, in this sixth edition, a careful selection of Latin American short films,
grouped by age into three different programs that range between 0 and over 14
years, along with a must-see series of international features, and its second
version of the short film competition made by kids, this time, from different
areas in our country.
In these six years, we have been meeting and consolidating relationships
with diverse people, who, whether by their own wills or because of the institutions they work for, have added their collaboration to this space where cinema,
childhood and education have become our leitmotifs.
Girls, boys and others with a young heart, welcome to the shows in this edition.
233
235
[23] FICVALDIVIA
ficvin
IRLANDA-LUXEMBURGOBLGICA 2014
DUR 93 //
FOR DCP
D Tomm Moore
bruja del bho, Macha, y un sinfn de mticas criaturas, Saoirse y Ben estn en una
carrera contra el tiempo para despertar los poderes del hada y evitar que el mundo
E Darragh Byrne
Inspired in a traditional Irish legend where people can turn into seals: Saoirse, the last
fairy of the sea, and her brother Ben start on a fantastic journey, where they face their
I Brendan Gleeson,
David Rawle, Lucy
OConnell, Fionnula
Flanagan
deepest fears. Persuaded by the owl witch Macha and countless mythical creatures,
they are on a race against time, to awaken Saoirses powers and prevent the spirit
world from disappearing forever.
SPUTNIK
D, G
pero en vez de transportar a los nios, la mquina termina llevando a todos los
Markus Dietrich
P Dorothe Beinemeier,
Joost de Vries, Marcel
Lenz, Leontine Petie,
Guido Schwab
F Phillip Kirsamer
Frederike (10) vive en Alemania Oriental; con sus amigos, decide construir una
mquina que la lleve donde su to, al otro lado del Muro de Berln. Todo est listo,
E Andreas Baltschun,
Sebastian Thmler
ne that can take her to her uncle, on the other side of the Berlin Wall. Everything is
to West Germany. At first, Frederike and her friends are alone and disoriented, while
ready, but instead of transporting the kids, the machine has moved all the townsfolk
they watch on TV the effort their relatives and neighbors are making to cross the Wall.
236
ficvin
[23] FICVALDIVIA
FRANCIA, 1998
DUR 26 // FOR DIGITAL
D Hol Caouissin
G Hol Caouissin, Ren
Laloux, Daniel Pennac
This is the friendship story between a wolf and an African boy, a beautiful lesson in
E Nathalie Lamoureaux
tolerance. Behind the gates of the Plant Garden, each one tells their story, evoking the
S Sylvain Bourgault
good and bad times, from the snowy plains in the Great North, to the hot lands of Africa.
M Anthony Rozankovic
I Briac Barthlmy, Marc
Brunet, Danile Rezzi
FRANCIA, 2012
DUR 26 // FOR DIGITAL
D Youri Tcherenkov
G Youri Tcherenkov, Antoine
Lanciaux
P Les films de lArlequin
E Ccile Pradere
M Serge Besset
I Bernard Alane, Barbara
Beretta, HervCaradec
PAP FRIMAS
En la parte ms alta de los Alpes, vive Pap Frimas, un personaje con espectaculares
poderes que cada invierno se asegura que la nieve cubra bien todo el bosque. Pero este
ao, nada sale como estaba previsto. Sylvain, el espritu del bosque, es despertado
bruscamente de su hibernacin y est hambriento y de mal humor.
In the highest reaches of the Alps lives Father Frimas, a being with spectacular powers
that makes sure each winter the woods are covered in snow. But this year, nothing
comes out as planned. Sylvain, the spirit of the forest, was rudely awakened from his
hibernation, and now is hungry and in a bad mood.
[23] FICVALDIVIA
237
ficvin
FRANCIA, 2013
DUR 78 // FOR DIGITAL
D Luc Jacquet
G Luc Jacquet
(Francis Hall)
P Yves Darondeau,
Christophe Lioud,
Emmanuel Priou
This animated documentary takes us along with botanist Francis Hall, on a journey
F Antoine Marteau
through the forests of the world, sharing the history of trees, from the time they are
seeds, till they reach the sky, across oceans, bewitching clouds, and transforming also
into the fiercest warriors. This is a deep look at the life of the forest and a necessary
call for its protection.
M ric Neveux
E Stphane Mazalaigue
239
241
[23] FICVALDIVIA
FICVIN
FILM
PAS
DUR
GNERO
DOA UBENZA
Argentina
Animacin
MATEO Y EL CINE
Mxico
Animacin
Canal Pakapaka
Argentina
Animacin
MI FAMILA I
Canal Pakapaka
Argentina
Animacin
MI FAMILIA II
Canal Pakapaka
Argentina
Animacin
SIEMBRA
Edgar lvarez
Colombia
Animacin
ESTACIONES: EL CHOCLO
Canal Pakapaka
Argentina
Animacin
EL ESPEJO MGICO:
UN ELEFANTE EN LA OSCURIDAD
Canal Pakapaka
Argentina
Animacin
DA NUBLADO
David Bisbano
Argentina
Animacin
Canal Pakapaka
Argentina
Animacin
Canal Pakapaka
Argentina
Animacin
Canal Pakapaka
Argentina
Animacin
242
FICVIN
[23] FICVALDIVIA
FILM
PAS
DUR
GNERO
DOA UBENZA
Argentina
Animacin
LA MQUINA
Ren Reyes
Mxico
Animacin
Gabriela Martnez
Mxico
Animacin
TLACUACHE DE MAGUEY
Miguel Anaya
Mxico
Animacin
EL TAMBOR Y LA SOMBRA
David Bisbano
Argentina
Animacin
Canal Pakapaka
Argentina
Animacin
Mxico
Animacin
Canal Pakapaka
Argentina
Animacin
EL MVIL
Jorge Villalobos,
Carlos Hagerman
Mxico
Animacin
Mxico
Animacin
Canal Pakapaka
Argentina
Animacin
Csar Cepeda
Mxico
Animacin
Canal Pakapaka
Argentina
Animacin
DA NUBLADO
David Bisbano
Argentina
Animacin
243
[23] FICVALDIVIA
FICVIN
FILM
PAS
DUR
GNERO
Leonardo Beltrn
Chile
22
Animacin
HISTORIAS CONTAMINADAS
Denis Chapon
Bolivia
Animacin
LA PIC
La poderosa
media project
Chile
Ficcin
PAYADA PA SATN
Animacin
DA NUBLADO
David Bisbano
Argentina
Animacin
ABUELA GRILLO
Denis Chapon
Bolivia
13
Animacin
EL LTIMO JAGUAR
Miguel Anaya
Mxico
Animacin
EL PORTN
La poderosa
media project
Chile
14
Ficcin
DOA UBENZA
Argentina
Animacin
cinemus
245
CINEMUS
CINEMUS
El encuentro entre la msica y el cine, con presentaciones
gratuitas, en vivo y al aire libre de solistas y bandas chilenas
junto a la exhibicin en pantalla grande de pelculas nacionales.
A coming together of music and film, with free, open-air live
presentations by Chilean bands and solo artists, along with the
projection, on the big screen, of national titles.
247
[23] FICVALDIVIA
PROGRAMA PROGRAM
cinemus
JUE.14.OCT
HORARIO
VERA MAIA
LA BARRA BLUES
LA BIG RABIA
//
CHILE, 2016
HORARIO
MAURICIO MIO
TAGORE EN VIAJE
MATIAS CENA
PHILIPINA BITCH
SB.14.OCT
HORARIO
BANDA SORPRESA
NEGRA MACUMBA
SHMIKS
BANDA SORPRESA
LA TERUKA
//
CHILE, 2016
australab
250
[23] FICVALDIVIA
AUSTRALAB EN FICVALDIVIA
LABORATORIO AUSTRAL DE CINE: 4 AL 14 DE OCTUBRE
del sector.
cuatro mdulos:
[23] FICVALDIVIA
251
australab
AUSTRALAB AT FICVALDIVIA
AUSTRAL CINEMA LAB: OCTOBER 4 TO 14
partners operate.
the basis for the impact the platform has had in the deve-
in Valdivia.
LARED For the first time this year, this group of indepen-
the continent.
FINANCIAN
ALIADOS PRINCIPALES
MEDIA PARTNER
[23] FICVALDIVIA
253
australab
3 PUERTOS CINE
3 PUERTOS CINE es una plataforma para el desarrollo de
de cada proyecto.
of each project.
A la sesin de Valdivia, vuelven los mismos doce directores, esta vez acompaados de sus productores, para
seguir trabajando en estos aspectos, pero adems, en
torno a los aspectos relacionados a la financiacin del
proyecto, en la perspectiva de pensar un modelo acorde
a las necesidades especficas de cada uno.
254
australab
[23] FICVALDIVIA
BLUE BOY
Berln. Una noche de otoo. En la puerta del bar, un cartel de nen azul: Blue Boy.
Vialis deambula alrededor de la barra en busca de clientes. Viaj a Berln para ha-
PAS Argentina
GNERO Documental
cer plata fcil. En este bar, ofrece su cuerpo a adultos locales a cambio de algunos
euros. Su vida oscila entre Rumania y Alemania, entre los hombres y las mujeres,
entre el da y la noche.
Berlin. An autumn night. At a pubs door, a blue neon sign: Blue Boy. Inside, Vialis walks
around the bar searching for clients. He travelled to Berlin to make easy money. In this
bar, he gives away his body to local adults for few euros. His life oscillates between
Romania and Germany, women and men, night and day.
MANUEL ABRAMOVICH
255
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australab
PAS Chile
GNERO Docu-Ficcin
CLAUDIA CARREO
[Directora]
JORGE CAMPUSANO
[Productor]
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CENIZA NEGRA
Land of Ashes
Selva tiene 12 aos y se resiste a crecer. Mientras trata de entender la lejana de
su hermano y el rpido deterioro de su abuelo, se sumerge en un universo mgico
SOFA QUIRS
[Directora]
MARIANA MURILLO
[Productora]
257
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australab
PAS Chile
GNERO Documental
ELISA ELIASH
[Directora]
PAULINA OBANDO
[Productora]
258
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EL SANTUARIO
The Shrine
Mxico, un pequeo pueblo acosado por el narco y el ejrcito, un nio pequeo
pierde a su madre. Su abuela le dice que la nica forma en que ella puede volver
PAS Mxico
GNERO Docu-Ficcin
JOSHUA GIL
259
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australab
IDAHO
Sixto Chacano, gaucho de la Patagonia chilena, es contratado en un rancho de Idaho,
Estados Unidos, para cuidar a tres mil ovejas en soledad. En el transcurso de un
PAS Chile
GNERO Documental
NICOLS MOLINA
[Director]
JOSPHINE SCHROEDER
[Productora]
260
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LA PIEL PULPO
Octopus Skin
gata (17) regresa con su hermano mayor Ariel a la casa abandonada de su infancia,
ubicada en una playa repleta de pulpos y pjaros, despus de la muerte de su her-
PAS Ecuador
GNERO Ficcin
mana La. Toda su infancia los hermanos vivieron en esa playa, siempre desnudos,
jugando en secreto con una intimidad en los lmites de la normalidad, al margen de
una pareja de padres ausentes. La convivencia entre ambos y la parlisis corporal
de Ariel, delatan las marcas de su tiempo en la ciudad.
gata (17) returns with her older brother Ariel to the abandoned house of her childhood, located in an empty beach full of octopus and birds, after the death of their
younger sister La. They spent all their childhood in this beach, always naked, playing
secretly with an intimacy in the limits of normality, away from a couple of absent
parents. Their life together and Ariels body paralysis denounce the marks left by the
time spent in the city.
ANA BARRAGN
[Directora]
ISABELLA PARRA
[Productora]
261
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PAS Colombia,
Francia
GNERO Ficcin
inexplicable muerte de Federico hace que todo cambie mientras la familia se empiece a desmoronar. Simn encuentra refugio en Laura, la exnovia de su hermano,
con quien empieza a salir.
When their mother moves into her new couples house, Simon (15) and his brother
Federico (17) climb the social ladder. While they adjust in their new school, they fully
live their teenage years between parties, love stories and disagreements. But Federicos unexpected and inexplicable death changes everything as his family starts to
collapse, Simon finds shelter in Laura, his brothers ex girlfriend, who starts dating.
[Director]
FRANCO LOLLI
[Productor]
Franco Lolli (Colombia, 1983) directed and coproduced the short films Como todo el mundo
(2008) and Rodri (2012), as well as his first feature
film Gente de bien (2014). Through Evidencia
Films, he produces, along with her associate
Capucine Mah, his own projects and the one of
other directors such as Simn Mesa Soto y Laura
Huertas Milln.
262
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LOS TIBURONES
Sharks
Un pueblo costero se ve amenazado por el rumor de la llegada de tiburones a sus
aguas por primera vez en su historia. Pero sto parece no importarle a Rosina (14),
PAS Uruguay
GNERO Ficcin
quien pese a ser retrada deja ver su furia y sus ganas de abrazar a Joselo, un
muchachito jardinero que la recibe con indiferencia. No pertenecer a nada jams
se sinti tan real.
A small coast town is threatened by the arrival of sharks for the first time in its history. This doesnt seem not to matter to Rosina (14), who although being stubbornly
introverted shows her anger and willingness to hug Joselo, a young gardener that
recieves her with indifference. Not belonging never felt so real.
LUCA GARIBALDI
[Directora]
FRANCISCO MAGNOU
[Productor]
263
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PAS Venezuela
GNERO Documental
ELIEZER ARIAS
[Director]
CHARLES MARTNEZ
[Productor]
264
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TIERRA DE NADIE
Juan (14) vive en Antofagasta en precarias condiciones. Ha perdido a su madre
recientemente, por lo que se ve forzado a viajar a Santiago junto a su padre, un
PAS Chile
GNERO Ficcin
[Directora]
CAMILO BECERRA
[Director]
265
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TODAVA NOSOTROS
Still Us
A veces pareciera que las familias nunca se terminan de quebrar.
PAS Argentina
GNERO Ficcin
MARTN MORGENFELD
[Director]
MELANIE SCHAPIRO
[Productora]
australab
266
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circulation.
// Desarrollo de audiencias
// Audience development
// Trabajo en red
// Networking
// Planificacin de un proyecto de
// CINE RADICAL
Santiago
// CINE RADICAL
Santiago
// CINECN
Concepcin
// CINECN
Concepcin
// SALA -1
Puerto Varas
// SALA -1
Puerto Varas
// SALA K
Santiago
// SALA K
Santiago
// TEATRO CONDELL
Valparaso
// TEATRO CONDELL
Valparaso
// THE OZ
Chilln
// THE OZ
Chilln
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267
australab
australab
268
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LARED
LARED es un grupo de distribuidores latinoamericanos, que
sados en su distribucin.
de apoyo.
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269
australab
The logic behind this group network is to increase competitiveness in the purchase of rights, by uniting each companys
economic power, and thus diminishing costs by mutualizing
expenses associated with a films purchase and distribution.
LARED was born in a workshop for European and Latin
American distributors called Cine Sin Fronteras, developed by AUSTRALAB, under the wing of the Media Mundus
program, together with Europa Distribution and CICAE,
between 2010 and 2013. During Cine Sin Fronteras, Latin
American distributors evolved the idea of partnering together
to contribute to the diversification of the cinematographic
offer in the continent. Thus, LARED was established, a
partnership that currently brings together distributors from
six Latin American countries, from north to south: Mexico,
Costa Rica, Ecuador, Colombia, Argentina and Chile. Every
year, these companies meet to continue working around
the circulation of independent cinema in Latin America,
the strengthening of this network, and with the intention
of integrating new members. This year, the goal is to add
a distributor from Spain, making LARED an IberoAmerican network.
STAFF
STAFF
272
stafF
Ral Camargo
Asistencia de Direccin
Vernica Lyon
Produccin Ejecutiva
Fernando Lataste
Productor General
PRODUCCIN
Jefe Produccin
Rodrigo Durn
Asistente Produccin
Guillermo Ramrez
Asistente Produccin
Vctor Flandez
Diseo
Valentina Aliaga
Asistente de Diseo
Secretaria
Yanet Mansilla
Administracin
Cristina Parada
Jefe de Seguridad
Ral Corts
Jefe Tramoya
Edgardo Figueroa
PROGRAMACIN
Jefa de Programacin
Programadora
Isabel Orellana
Programador
Gonzalo Maza
Programador
Programador
Ral Camargo
Gonzalo de Pedro
Programadora FICVin
Valentina Palma
Francisco Huichaqueo
Luis Bocaz
Hernn Panessi
Jaime Crdova
Produccin de Copias
Francia Rosales
Agente de Aduanas
Claudio Pollmann
SALAS
Coordinadora de Salas
Eloisa Wheatley
COMUNICACIONES
Comunicaciones & Prensa
Carla Wong
Prensa
Evelyn Morales
Lucas Hermosilla
Prensa
Michelle Bossy
Redes Sociales
Paulina Klaassen
Redes Sociales
Rodrigo Vega
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INVITADOS
Coordinadora Invitados
Patricia Prez
Marianela Herrera
ACREDITACIONES
Acreditaciones 1
Eriko Godoy
Acreditaciones 2
Javier Neira
PROTOCOLO
Alejandra Rodrguez
CATLOGO
Editor/Traductor
Diseo y Diagramacin
Valentina Aliaga
PRODUCCIN TCNICA
Productores Tcnicos
Carlos Vargas
Raimundo Valds
Cristian Ruiz
Rodrigo Rios
Alejandro Flores
Gustavo Torres
Joel Canio
Byron Cabezas
Jefe Sonido
Patricio Muoz
Subtitulador
Cristian Mardones
Audio e Iluminacin
ASE-321
AUSTRALAB
Director
Erick Gonzlez
Productora Ejecutiva
Clara Taricco
Coordinadora
Antonia Goycoolea
Adriana Silva
Asistentes
Renata Aguayo
Marcela Castro
CPCV
Presidente
Juan Quintana
Secretario
Daniela Accatino
Tesorero
Guillermo Binimelis
Director
stafF
274
stafF
CPCV
Director
Jos Araya
Secretaria Ejecutiva
Denise Elphick
Periodista
Eduardo Rocco
Delegada de Pblico
Claudia Santos
Nestor Tadich
Leonor Adn
Andrea Osorio
Yano Gonzlez
CPCV
Juan Quintana
CCM VALDIVIA
Omar Sabat
CODEPROVAL
Andrs Villagrn
GORE
Egon Montecinos
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NOTAS
NOTES
notas
276
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277
NOtes
notas
278
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