Documente Academic
Documente Profesional
Documente Cultură
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25 AÑOS DE FICVALDIVIA
En 1994, cuando el Cine Club de la Universidad Austral de Chile organizó el primer Festival Valdivia Cine & Video, se
comenzó a perfilar esta iniciativa –¡que ya suma 25 años!– como un espacio de encuentro para la industria, para los
autores locales y extranjeros, y para un público cada día más diverso.
En este cuarto de siglo, FICValdivia ha sido parte activa de las transformaciones de la industria cinematográfica
chilena. Su vocación de vanguardia y su actitud reflexiva frente a los cambios sociales lo han convertido en una
plataforma fundamental para el desarrollo del cine local.
Hoy en día, frente a los cambios que registran los festivales de cine, es imperioso preguntarse sobre el rol y la
importancia de este tipo de espacios. Para FICValdivia, es central ser un evento que tenga sentido para la comunidad
que lo acoge y continuar consolidándose como una instancia que, sin descuidar a la industria ni la calidad de su
propuesta cultural, sea capaz de interpelar al público, volver la mirada hacia el tejido social que sustenta al cine como
fenómeno y desarrollar una forma de crecimiento y consolidación vinculada con el entorno.
La proyección en el tiempo del Festival dependerá del apoyo que logre sumar y, en ese sentido, el financiamiento a
largo plazo es una meta que hoy resuena de forma imperiosa, para que el impacto generado en las audiencias a lo
largo de estos 25 años de historia sea de provecho para el país.
Pese a las dificultades, existe la certeza de que en los próximos 25 años FICValdivia seguirá siendo uno de los
principales eventos de su tipo en América Latina, vitrina fundamental para las tendencias fílmicas globales y el punto
de encuentro del cine chileno, cuyo futuro también se seguirá escribiendo en y desde Valdivia.
A 25 años de su nacimiento y con la vista puesta en los próximos 25 años, el Festival Internacional de Cine de Valdivia
ya es un clásico del presente y sigue encarnando todo lo que significa ser un verdadero clásico del futuro.
25 YEARS OF FICVALDIVIA
In 1994, when the Cine Club of the Universidad Austral de Chile organized the first Valdivia Film & Video Festival, this
initiative –which is already 25 years old!– began to take shape as a meeting place for the industry, local and foreigner
authors, and an increasingly diverse audience.
In this quarter-century, FICValdivia has been an active stakeholder in the many transformations of the Chilean film
industry. Its avant-garde sensibilities and reflexive attitude towards social changes have turned it into a fundamental
platform for the development of local cinema.
Nowadays, in the face of changes felt by all film festivals, we need to ask ourselves about the role and importance of
this type of space. A crucial aspect for FICValdivia is to make sense to the community that harbors it, and to continue
consolidating itself as a venue that, without neglecting the industry or the quality of its cultural proposal, is capable
of challenging audiences, of turning its attention to the social fabric that sustains cinema as a phenomenon, and of
developing a form of growth and consolidation linked to our living environment.
The Festival’s prospects over time will depend on the support it manages to harness. Consequently, long-term funding
is an overriding goal so that the impact on audiences throughout these 25 years of history can be of benefit to the
country.
Despite the difficulties, there is the certainty that in the next 25 years FICValdivia will continue to be one of the main
events of its kind in Latin America: a fundamental showcase for global film trends, and the central meeting point of
Chilean cinema, the future of which will continue to be written in and from Valdivia.
25 years after its inception and with its sights set on the next quarter-century, the Valdivia International Film Festival
is already a classic of the present and continues to embody all that it means to be a true classic of the future.
5
Palabras 09
Words
CEREMONIAS Ceremonias 25
CEREMONIES Ceremonies
P. 33 Selección Oficial 36
EN COMPETENCIA Largometraje Internacional
Official International
IN COMPETITION Feature Selection
P. 49
Selección Oficial 51
Largometraje Chileno
Official Chilean
Feature Selection
Selección Oficial Largometraje 57
Juvenil Internacional
Official International Youth Feature
Selection
Selección Oficial 65
Cortometraje Latinoamericano
Official Latin American
Short Film Selection
Selección Oficial Cortometraje 80
Infantil Latinoamericano
Official Latin American Children’s
Short Film Selection
Selección Oficial Cine Chileno del 87
Futuro
Official Future Chilean Cinema
Selection
STAFF 278
STAFF
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PALABRAS
WORDS
PALABRAS 10 [25] FICVALDIVIA
It has been 25 years since, in 1994, the Cine Club of the Universidad
Austral de Chile organized the first Valdivia Film & Video Festival,
later renamed the Valdivia International Film Festival, in 1998. It has
been a quarter-century of efforts and enthusiasm to give continuity
and brilliance to an event that has become one of the most important
throughout Latin America.
The Valdivia International Film Festival proves that in Chile good
ideas can prosper and be sustained over time. What started as the
initiative of a group of moviegoers is today an event of great significance
that has influenced generations of creators and spectators.
One cannot forget some of the winning films of this festival over the
years and their sizeable cultural contributions: Tesis, Machuca, La Nana,
Amores perros and many other instant classics of contemporary cinema.
With public and private contributions, and the tenacity of its
producers, the Festival has connected Valdivia to the world, giving this
beautiful city a unique presence associated with contemporary film. This
is what true decentralization looks like; practical, based on concrete
facts, which should also serve as a source of inspiration for how to build
a Chile of all and for all.
Because of all this, and much more that would have to be said to do
justice to this wonderful initiative, we celebrate the first quarter century
of FICValdivia, and we foresee a brilliant future development made
possible by Valdivians’ deep love for cinema.
PALABRAS 12 [25] FICVALDIVIA
Omar Sabat
Alcalde de Valdivia
Omar Sabat
Mayor of Valdivia
Óscar Galindo V.
Rector
Universidad Austral de Chile
Óscar Galindo V.
Rector
Universidad Austral de Chile
The spaces for audiovisual production and outreach that have been
promoted from the south of Chile have been crucial to disseminating
works that, far from the traditional circuits of cinema, call for new forms
of dialogue and reflection.
We celebrate the 25th anniversary of the Valdivia International
Film Festival –the foundational version of which was organized in 1993
with the aim of celebrating the 30th anniversary of the Cine Club of the
Universidad Austral– aware of the consolidation of a project whose
cultural, social and aesthetic contributions are been internationally
recognized, having become one of the main festivals in Latin America.
This has been possible thanks to the development of a management
model integrated by the Universidad Austral de Chile, the Valdivia
Cultural Center for Film Promotion, the Regional Government of Los Ríos,
the Municipality of Valdivia and the current Ministry of Culture, Arts and
Heritage, among other collaborators.
This 2018, we also commemorate 10 years since the death of one
of its most outstanding directors. This, of course, is Guido Mutis, a
professor at our University and an academic model and critic of art
and cinema in the south of the country. Our most sincere gratitude and
recognition go to him.
To the more than 20,000 people who visit the city of Valdivia in October
to participate in FICValdivia, welcome to a space rooted in nature, to the
land that –away from the central cities– has made possible the dream of
making this region into one of Chile’s cultural hubs.
PALABRAS 18 [25] FICVALDIVIA
Since 1994, the Region of Los Ríos plays a leading role in one of the most
important international film festivals in the country. That is why, on
its 25th anniversary, we want to recognize and honor the work carried
out by its founders, and also the professionals at the Valdivia Cultural
Center for Film Promotion, who have managed to coordinate various
stakeholders and institutions to keep this emblematic initiative alive.
The Los Ríos Regional Board, committed to the development of
culture, arts and heritage, understands that this work is a way to
contribute to local and regional growth, not only in terms of identity,
but also in terms of tourism and economic development. With this in
mind, year after year we have allocated resources from the National
Fund for Regional Development (FNDR) to support locally-based cultural
development and to strengthen the Festival, which has become a window
to show the world our greatest artistic potential.
Our collegiate body values the permanent commitment of an
organization that, throughout the year, carries out multiple activities
aimed at spreading and promoting film culture in different spaces, such
as workshops, exhibitions and itinerant audio-visual shows. All this
before an incredibly diverse audience. Along these lines, we urge you to
continue contributing to the diversification of this important cultural and
tourism product; to continue working, growing and building a solid base
from which to preserve and communicate the culture of the Los Ríos
Region into the future.
PALABRAS 20 [25] FICVALDIVIA
Since the Valdivia Cultural Center for Film Promotion (CPCV) took over
the production of the Valdivia International Film Festival, it took on the
responsibility of decentralizing in the region and distributing throughout
the calendar several of the activities related to this event that takes
place in our city, during October of every year. The multiple activities
that we carry out from January to December faithfully reflect what takes
place during the seven days of the Festival.
Currently, and after its 16 years of work, the CPCV is one of the few
institutions devoted to cultural activities covering the entire regional
territory. Its programs include promoting audience formation and art
education and eagerly contributing to making Valdivia and the Los Ríos
Region into a successful ground for creative industries.
So far this year, we have visited nine of the Region’s communes with
film programming. We also conducted, for the first time, FICValdivia in
Winter, in the city of La Unión. Overall and so far, regional audiences
amount to almost 13 thousand viewers, and we expect to see this figure
grow over the next few years due to our networking and actions on the
establishment of key territorial partnerships so that our activities can
have regional reach.
Developing our activities requires enormous management and
financial efforts. Ironically, on the year when we are celebrating
FICValdivia’s 25th anniversary, fund-raising has been particularly
difficult and major adjustments needed to be made in order to produce
the event we are now enjoying.
We are blowing the candles to celebrate cinema and closing our eyes
so that our wishes may be fulfilled, hoping to come a little closer to a
funding scheme that can assure stability and projection into the future.
We think that FICValdivia meets all the requirements to be among the
Top 5 Latin American film festivals. Getting there depends on public
support and commitment with this Festival. Will this dream ever come
true?
PALABRAS 22 [25] FICVALDIVIA
CEREMONIAS
CEREMONIES
[25] FICVALDIVIA 25 CEREMONIES
first movie; it was forgotten and remained unfinished. In 2008, it was found I Héctor Duvauchelle, Renato
at the University of Chile’s film library, with the label: “French movie”. Its Duvauchelle, Gonzalo Palta,
restoration and editing were in charge of Ruiz himself and Inti Briones. The Orietta Escámez
film’s premier at the Valdivia Film Festival in 2008 is considered a unique
and one-off event.
DIRECTOR
RAÚL RUIZ
(Chile, 1941-2011)
2012 La noche de enfrente
2007 La recta provincia
2002 Cofralandes I, II, III y IV
1990/2017 La telenovela errante
1974 Diálogos de exiliados
1973 Palomita blanca
1967 El tango del viudo
CEREMONIAS 26 [25] FICVALDIVIA
obra realizada por la Municipalidad de Río Bueno y el Centro de Promoción I Manuel Leyton, Arnoldo
Cinematográfica de Valdivia.
Gonzalez, Delis Villalobos
(Chile, 1909-1995)
1952 Noticieros regionales
1951 Panoramas Sureños
27
FILMS DE
INAUGURACIÓN
& CLAUSURA
OPENING & CLOSING FILMS
FILMS DE INAUGURACIÓN & CLAUSURA 28 [25] FICVALDIVIA
APICHATPONG
WEERASETHAKUL
(Tailandia, 1970)
2015 Cemetery of Splendour
2012 Mekong Hotel
2004 Tropical Malady
C Dimitri Krassoulia
dimitri.krassoulia@pelleas.fr
[25] FICVALDIVIA 29 OPENING & CLOSING FILMS
DIRECTOR
BI GAN
(China, 1989)
2016 The Secred Goldfish
2015 Kaili Blues
C Wild Bunch 2013 Diamond Sutra
Tél. : 01 43 13 21 15
FILMS DE INAUGURACIÓN & CLAUSURA 30 [25] FICVALDIVIA
(Chile, 1975)
2017 Todas las cartas que nunca
envié
2017 Nada pertenece a la memoria
2013 Ver y escuchar
2008 El cielo, la tierra y la lluvia
2004 Ningún lugar en ninguna
parte
Yara was shot in the north of Lebanon, in the Kadisha Valley, classified as a
UNESCO World Heritage Site. Accessible only by foot or by mule, the valley
constitutes the wild backdrop of two related stories: the story of two young
people experiencing the joys and sorrows of their first love, and the story of
a small community of mountain farmers condemned to disappear.
DIRECTOR
ABBAS FAHDEL
(Irak, 1959)
2015 Homeland: Iraq Year Zero
2008 Dawn of the World
2004 We Iraqis
2002 Back to Babylon
C Stalker Production
contact.abbas.fahdel@gmail.com
abbasfahdel.com
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EN COMPETENCIA
IN COMPETITION
34
JURADO JURY
Fabienne Hanclot
Desde 2007 es la directora ejecutiva de ACID Since 2007, Chief Executive of ACID (Association
(Asociación para la Distribución del Cine for Independent Cinema Distribution, France), an
Independiente, Francia), organización creada por organization of film directors created in 1992. In
directores de cine en 1992. En 1995, fue destinada 1995, she was appointed to the cinema department
al departamento de cine del Centro Cultural of the French Cultural Center in Athens. She created
Francés de Atenas, donde creó el Festival de Cine the French Film Festival and worked on making
Francés y trabajó para mejorar la visibilidad de French films visible in Greece. Back in France in
películas francesas sin distribución en Grecia. 2012, she ran the town cinema of La Courneuve,
Regresó a Francia en 2012 y dirigió el cine local de near Paris. Her work supporting challenging films
La Courneuve, cerca de París. Su labor en apoyo brings her to participate in cinema organizations,
del cine independiente la llevó a participar en such as GNCR (Group of National Cinemas
organizaciones del área, como GNCR (Agrupación Research) and ACRIF (Association of Cinemas
Nacional de Investigación Cinematográfica) y en Research in Ile de France), which she chairs since
ACRIF (Asociación de Investigación Cinematográfica 2006.
de Ile de France), la cual preside desde 2006.
Benjamín Domenech
Productor de cine nacido en Buenos Aires, en 1986. Film producer born in Buenos Aires, in 1986.
Creó Rei Cine en 2010, en conjunto con Santiago He established Rei Cine in 2010, with partners
Gallelli y Matías Roveda, con el fin de ofrecer una Santiago Gallelli and Matías Roveda to provide a
plataforma creativa a cineastas innovadores. Ha creative platform for groundbreaking filmmakers.
trabajado con directores como Lucrecia Martel, He has worked with directors such as Lucrecia
Gonzalo Tobal, Valeria Bertuccelli, Gael García Martel, Gonzalo Tobal, Valeria Bertuccelli, Gael
Bernal, Dominga Sotomayor, Benjamín Naishtat y García Bernal, Dominga Sotomayor, Benjamín
Marcela Said, entre otros. Sus títulos más recientes Naishtat and Marcela Said, amongst others. His
como productor incluyen: Acusada (2018), La reina latest credits as producer include: Acusada (2018),
del miedo (2018), Zama (2017), Temporada de caza La reina del miedo (2018), Zama (2017), Temporada
(2017) y Los perros (2017). Todas sus películas se de caza (2017) and Los perros (2017). All his films
han estrenado en los principales festivales y se han have premiered in A-list festivals and have been
distribuido en el mundo entero. distributed worldwide.
YUI KIYOHARA
(Japón, 1992)
2017 Our House (ópera prima)
C Miki Ohi
international@pff.jp
+81 35774 5296
Fax : +81 35774 539
[25] FICVALDIVIA 37 OFFICIAL INTERNATIONAL FEATURE SELECTION
Ainhoa Mata Juanicotena was born into a family that filmed, recorded and
photographed her life for many years. In her youth, by the end of the 1980’s,
DIRECTORA
she began to write what she didn’t want to share with anyone. The diaries
she kept until her death describe a woman very different from the one that
her relatives and friends knew. This film is also an alternative chronicle to
the official history of Spain in the nineties, told through intimate diaries that
reveal themes related to the experiences of women throughout history.
(Chile,1975)
2014 El gran vuelo
2012 Lo indecible
2008 De monstruos y faldas
bosque en otoño. Un bosque en verano, enmarcado por la luz. Un orgasmo y Breithaupt, Louis Fried,
una danza. Casanovagen es una película sobre el deseo. Steffen Danek, Nikolas Kuhl,
LUISE DONSCHEN
(Alemania, 1982)
2012 Give Me Back My Own Picture
Perfect Memory
C Luise Donschen 2005 Between the Borders
luisedonschen@posteo.de
+ 49 (0) 170 91 26 730
SELECCIÓN OFICIAL LARGOMETRAJE INTERNACIONAL 40 [25] FICVALDIVIA
DIRECTOR
PEPE GUTIÉRREZ
(México, 1989)
2016 Te prometo nunca regresar
2016 El brillo de tus ojos se
extinguirá con la oscuridad del
mundo
2014 Los pájaros miran hacia el
C Los no Ricos Films Pepe Gutiérrez Norte
pepegutierrez.3@gmail.com
[25] FICVALDIVIA 41 OFFICIAL INTERNATIONAL FEATURE SELECTION
MARIE LOSIER
(Francia, 1972)
2015 L’Oiseau de la Nuit
2011 The Ballad of Genesis and
Lady Jaye
2013 Alan Vega, Just a Million
Dreams
2005 Eat Your Makeup!
Wilfrid, owner of a carwash business, is kidnapped by Thomas and Francis. Guien, Hélène Bressiant, Marc
Against all odds, Wilfrid is delighted with his new forced companions, who Barbé, Olivier Zanotti, Bilal
came to brighten his lonely life. While he is gardening, the two friends, Aya
installed in his house, collect money from the carwash stations and invite
their girlfriends to join them. The gains accumulate as the days go by and
the small assembly begins to form complex relationships of friendship and DIRECTOR
disappointment, friendship and betrayal.
CLAUDE SCHMITZ
(Bélgica, 1979)
2018 Les films de l’été
2016 Mali (in Africa)
2013 Melanie Daniels
2012 Tout comme les princes
GHASSAN HALWANI
(Líbano, 1985)
2005 Jibraltar
Then Marcela gets a phone call from a distant relative who is trying to reach E Livia Serpa
her, while at home she keeps up conversations with relatives from another I Mercedes Morán, Esteban
dimension. Bigliardi, Marcelo Subiotto,
DIRECTORA
MARÍA ALCHÉ
(Argentina, 1983)
2015 Gulliver
C Tatiana@bubblesproject.com Tatiana Leite / Maria Alché
Maria.alche@gmail.com 2012 Noelia
www.bubblesproject.com Pasto Cine and Bubbles Project
www.pastocine.com.ar + 55 21 99307-4619
[25] FICVALDIVIA 45 OFFICIAL INTERNATIONAL FEATURE SELECTION
Love found, love lost. Families disappearing or yet to be built. The sea, the
lakes, houses, endings, solitude, friendship. Everything we keep, everything
we leave behind. Shot on Super 8 film between 2010 and 2018 in Portugal,
Germany, Denmark, Switzerland, Italy, Guinea-Bissau, Argentina, Bolivia,
Peru and Chile, this film records the author’s memories as days go back to DIRECTOR
normal and emotions start to wane, looking into those little ceremonies of
sorts we make to remind ourselves of our own history.
DÍDIO PESTANA
(Portugal, 1978)
2018 Sobre tudo sobre nada (ópera
prima)
C KINTOP
info@kintop.pt www.kintopfilms.com
(+351) 93 4851820
SELECCIÓN OFICIAL LARGOMETRAJE INTERNACIONAL 46 [25] FICVALDIVIA
lo que pueden hasta que la cámara los filma a ellos. Milad Amin, Ghiath Ayoub, Tim
Siofi
Saeed is a young cinema lover trying to teach other young people in Eastern
E Raya Yamisha, Qutaiba Barhamji
Ghouta, Syria, the rules of filmmaking, but the reality they face is too harsh
S Pierre Armand
to follow rules. His friend Milad is in nearby Damascus, but it seems like a
world away, under the control of the regime and studying Fine Arts at the A Rania Stephan
university. At one point, Milad decides to leave the capital and join Saeed
who is living under state of siege in Douma, where they set up a local radio
DIRECTORES
station and a recording studio. They pick up the camera to film everything
they can until one day, the camera films them.
violently murdered eight years prior in an unsolved crime. She confronts Paula Zúñiga, Claudia Cabezas,
her family and their individual versions, while deciding whether to take the Catalina Vásquez, Macarena
opportunity and find out who her daughter truly was.
Lagos, Rafaela Garretón, Belén
Herrera
DIRECTOR
(Chile, 1990)
C Inefable Mariana Tejos Martignoni 2015 Locas perdidas
2013 La toma
www.enigma-film.com tejosmariana@gmail.com
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JURADO JURY
Giona Nazzaro
Periodista, crítico de cine y escritor nacido en Film journalist and writer born in Zurich,
Zúrich, Suiza. Delegado general de la Semana de Switzerland. General Delegate of the Venice
la Crítica del Festival de Venecia. Programador y International Film Critic’s Week. Programmer and
curador de Visions du Réel (Nyon, Suiza). Miembro curator for Visions du Réel (Nyon, Switzerland).
del directorio de la SNCCI (Unión de Críticos de Member of the board of the SNCCI (Union of Italian
Cine Italianos). Miembro del comité seleccionador film critics). Member of the selection committee
del Torino Film Festival, programador del Festival for the Torino Film Festival, programmer for the
dei Popoli (Florencia, Italia) y colaborador del Festival dei Popoli (Florence, Italy) and collaborator
Festival de Cine de Locarno. Trabajó en el comité for the Festival del Film di Locarno. Worked in the
seleccionador del Festival Internazionale del Film selection committee of the Festival Internazionale
di Roma. Fue curador de la exposición de arte Il del Film di Roma. He curated the art exhibition Il di/
di/segno del cinema – El di/seño del Cine (2015, segno del cinema – The De/Sign of Cinema (2015,
Cagliari, Italia). Cagliari, Italy).
María Bonsanti
Desde 2000, se desempeña en el ámbito de los Since 2000, she works in the field of documentary
documentales. Durante 12 años, trabajó en el cinema. For 12 years, she worked for Festival dei
Festival dei Popoli, Florencia, Italia, y fue su Popoli in Florence, in 2011 as co-director. She has
vicedirectora en 2011. Colaboradora habitual del collaborated periodically with the Locarno Film
Festival de Cine de Locarno. Entre 2012 y 2017, Festival. From 2012 until 2017, she was the Artistic
fue la Directora Artística de Cinéma du Réel, París, Director of Cinéma du Réel, in Paris, where she also
donde también ideó y desarrolló la plataforma de conceived and developed the industry platform
la industria, llamada ParisDOC. Ha sido miembro called ParisDOC. She has acted as a jury member
del jurado en diversos festivales y comisiones in several festivals and film commissions. Since
fílmicas. Desde 2017, preside EURODOC, liderando 2017, she is Head of EURODOC, leading a training
un programa de capacitación para productores de program for documentary producers.
documentales.
de Papeles y Cartones (CMPC) en el asesinato. Hoy, el caso sigue abierto a la Teresa Arredondo
espera de saber quiénes serán condenados. Carlos Vásquez
F Carlos Vásquez
In September 1973, 19 paper mill workers were imprisoned and taken to
E Martín Sappia
the Laja police station. Six years later, their bodies were found in Yumbel’s
cemetery. After almost 40 years, one of the policemen involved broke Carlos Vásquez
the pact of silence they had made the night of the killing, revealing the S Andrea López Millán
participation of the Paper Manufacturing Company (CMPC) in the murder. M Andrés Maupoint
Today, the case is still open and awaiting sentence.
Frédéric Chopin
Neanderthaler
DIRECTORES
Jullian
DIRECTORA
ANTONIA ROSSI
(Chile, 1978)
2012 Destellos en la piscina
C MALAPARTE CLARA TARICCO 2010 El eco de las canciones
www.unavezlanoche.com clara.taricco@malaparte.cl 2005 Ensayo
2003 Vuelta a casa
[25] FICVALDIVIA 53 OFFICIAL CHILEAN FEATURE SELECTION
DIRECTORAS
MARGARITA POSECK
EUGENIA POSECK
(Chile,1957)
C POSECK PRODUCCIONES Margarita Poseck 2015 Herencia
2013 Agua bendita
www.poseckfilms.com marposeck@gmail.com
2011 Tres mujeres lindas
2007 Mareas
SELECCIÓN OFICIAL LARGOMETRAJE CHILENO 54 [25] FICVALDIVIA
su vida, sus delitos y sus pesadillas; la relación entre el territorio y sus sueños. F David Belmar
M Alexandre del Torchio, René
The action takes place in a youth detention center in the Mapuche Ballesteros
countryside, south of Chile. Every night, teenagers suffer recurrent S René Ballesteros, Marco
nightmares while waiting for trial, while some of them get convicted. The Burdiles, Simon Apostolou
film explores the relationships among their lives, their crimes and their E Johanne Schatz
nightmares; the relationship between their land and their dreams.
I Jóvenes y educadores del
centro de detención de menores
CIP-CRC de Chol Chol, Región
de la Araucanía
DIRECTOR
RENÉ BALLESTEROS
(Chile, 1975)
2010 La quemadura
2008 Las estrellas
(Chile, 1986)
2018 Vivir allí no es el infierno
(ópera prima)
M Miguel Miranda
Zurita is the story of a man who held on to art in order to heal his own wounds.
S Boris Herrera
A poet who has transcended while staying in the ambit of disappointment
and pain, until Parkinson’s disease took control of his life and turned it E Andrés Fuentes, Valeria
around in an unexpected way. Valenzuela
DIRECTORA
ALEJANDRA CARMONA
(Chile, 1965)
2003 En algún lugar del cielo
There is a group of Valdivians who have no memory of their city without the Film
Festival every spring. They grew up watching the children’s programming or showing
their own films made in the Festival’s workshops. The Valdivia International Film
Festival celebrates 25 years with a new category for those kids, who are now between
13 and 18 years of age.
The youth competition is a selection of films for an age that is perhaps confusing,
but also passionate and rebellious. Where questions become certainties. An age in
which friends are an inseparable tribe, music is an essential soundtrack and love is
forever. In these years, cinema has the power to transform our perspective of reality,
and once out of the screening room, the city feels like something new and alien.
We hope that the five films from Mexico, Argentina, Japan, Egypt and Brazil
renew the spirits of the audience with stories from young people who question politics
or religion. Stories told by brothers, cousins, friends, by those critical of the world
making simple, attainable films, able to inspire others in their own searches. Able to
build and deconstruct realities, camera in hand.
TIZIANA PANIZZA
58
JURADO JURY
his actions only; convinced that the feeling is something superior to love. Kaneko
This film marks the birth of the legendary and iconic heroine: Amiko. It will
be impossible for you to resist her haunting charm.
DIRECTORA
YOKO YAMANAKA
(Japón, 1997)
2017 Amiko (ópera prima)
C KeikoAraki / MikiOhi
international@pff.jp
SELECCIÓN OFICIAL LARGOMETRAJE JUVENIL INTERNACIONAL 60 [25] FICVALDIVIA
Primas is an evocative portrait of two Argentinean teenagers –cousins Liy, Juan Pablo Fernandez
Rocío and Aldana– who, in the wake of heinous acts of violence that I Rocío Álvarez, Aldana Bari
interrupted their childhood, will free themselves from the shadows of
their past. Traveling through Argentina and Montreal, the girls come of age
having revelatory experiences in their everyday lives; learning dance, mime, DIRECTORA
theatre, circus and visual arts. Through their bodies, they express what only
their imagination, their unique perspective, and their unshakable resilience
can reveal.
LAURA BARI
(Argentina,1974)
2013 Ariel
2009 Antoine
languages, Yonlu had a network of virtual friends on all continents. However, Machado, Mirna Spritzer,
no one suspected he was also taking part in a forum for potential suicides. Lorena Lorenzo
The film uses the languages of animation, musical, and video-clip to tell the
story of a very creative boy in virtual networks, which seemed to be so bright DIRECTOR
and welcoming but concealed dark and dangerous crooks.
HIQUE MONTANARI
(Brasil, 1968)
2008 Arroba
2009 Fogo
C HIQUE MONTANARI
montanari.hique@gmail.com
SELECCIÓN OFICIAL LARGOMETRAJE JUVENIL INTERNACIONAL 62 [25] FICVALDIVIA
M Matthieu Deniau
Amal is a feisty teenager growing up in post-revolution Egypt; both she and
her country are undergoing a tremendous change. Within constant political
turmoil, the girl searches for her place, identity and sexuality in a patriarchal
DIRECTOR
society. Amal, whose name literally translates to “hope”, is embarking on a
six year compelling journey from childhood to adulthood. Along the way, she
realizes her limited options as a woman living in an Arab police state.
MOHAMED SIAM
(Egipto,1975)
2016 Whose country?
C Doc&Film International
sales@docandfilm.com
[25] FICVALDIVIA 63 OFFICIAL INTERNATIONAL YOUTH FEATURE SELECTION
C Petruvski Films
mail@petruvski.com
64
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JURADO JURY
ÁLVARO ARROBA
Fundó la revista Letras de Cine y escribió He founded the Letras de Cine magazine and wrote
esporádicamente en diversas publicaciones periodically for different Spanish and International
españolas e internacionales. Actualmente, media. Currently, he writes for the SoFilm French-
forma parte de la redacción de la revista franco- Spanish magazine. He has organized retrospectives
española SoFilm. Ha organizado retrospectivas of works by Gonzalo García Pelayo, Rita Azevedo
de Gonzalo García Pelayo, Rita Azevedo Gomes y Gomes and Francisco Regueiro, both in Argentina
Francisco Regueiro, en Argentina y en el extranjero. and abroad. At present he lives and loves in Buenos
Actualmente vive y ama en Buenos Aires, donde Aires, where he programs films for BAFICI, the city’s
selecciona películas para BAFICI, el festival de cine film festival.
de la ciudad.
JEANNETTE MUÑOZ
Cineasta chilena radicada en Europa. Estudió artes Chilean filmmaker based in Europe. She studied
visuales en la Universidad de Chile y ha realizado visual arts at Universidad de Chile in Santiago
pasantías en Francia, Londres y Berlín. Muñoz and has been awarded fellowships in France,
filma películas en 16mm desde 2000, las que se London and Berlin. Muñoz has been making 16mm
han presentado en diversos lugares, entre ellos films since 2000, which have screened at venues
Kino Arsenal Berlín, Light Movement en Berlín, including Kino Arsenal Berlin, Light Movement
Media City Film Festival, New York Film Festival, Berlin, Media City Film Festival, New York Film
Rotterdam International Film Festival, Festival de Festival, Rotterdam International Film Festival,
Cine Ourense, Centro Gallego de las Artes, Xcèntric- Festival de Cine Ourense, Centro Gallego de las
Barcelona, entre otros. En 2007, Revista Lumiere Artes, Xcèntric-Barcelona, among others. In 2007,
publicó la edición bilingüe de un libro sobre su obra, Revista Lumiere published a bilingual edition of the
titulado Jeannette Muñoz: El paisaje como un mar. book about her work: Jeannette Muñoz: Landscape
as a Sea.
MALENA SZLAM
Artista y cineasta, nacida en Chile y radicada Artist and filmmaker, born in Chile and based in
en Montreal, Canadá. Su trabajo se ubica en Montreal, Canada. Working at the intersection of
la intersección entre cine, instalaciones y cinema, installation, and performance, her practice
performance e indaga en la relación entre el mundo explores the relationship between the natural
natural, la percepción y los procesos intuitivos. Sus world, perception, and intuitive processes. Her
obras se han presentado en diversos festivales y work has been exhibited worldwide at numerous
museos del mundo entero. En 2018, el Los Angeles festivals and museums. In 2018, the Los Angeles
Filmforum presentó una retrospectiva de sus Filmforum presented a retrospective of her
películas. Szlam es miembro de Double Negative, films. Szlam is member of Double Negative, an
un colectivo de artistas independientes que independent artist collective devoted to analogue,
trabajan con enfoques analógicos, experimentales experimental, and DIY approaches to film
y DIY (ética del Do-It-Youself) en la producción production. She is recipient of the LIFT –Liaison
cinematográfica. Fue galardonada con el Premio of Independent Filmmakers of Toronto’s Roberto
de Residencia Artística Roberto Ariganello 2018 Ariganello Artist Residency Award 2018.
de LIFT, la Unión de Cineastas Independientes de
Toronto.
[25] FICVALDIVIA 67 OFFICIAL LATIN AMERICAN SHORT FILM SELECTION
Las fuerzas is about the learning process of a group of jockeys. In their S Amalia Fischbein, Marcos
analogue practices, the simulation reproduces a future experience and a Migliavacca
face turns alien in front of a new gesture. Following a school-like rationale,
including methods and evaluations, the matter to shape is the body. A body
that needs to complement with another body, a small body that cannot DIRECTORA
grow, with a latent frailty, always about to break.
PAOLA BUONTEMPO
(Argentina, 1985)
2012 Los animales
2010 Las instancias del vértigo
C PAOLA BUONTEMPO
paobuontempo@gmail.com
SELECCIÓN OFICIAL CORTOMETRAJE LATINOAMERICANO 68 [25] FICVALDIVIA
Rosa was never Lucas. Kicked out of her home, she needs to build her own S Julio Galassi
tent. Time is running out while an expansion project for the largest port in I Rosa Luz, Ana Souto, Miriam
Latin America threatens not only Rosa, but all the inhabitants of the Favela Galdino, Chico Santos, René
de la Prainha slum. Campos, Patrick de Aguiar,
Chrysler de Aguiar, Christian
Carlos Aguiar, Christopher
de Aguiar, María Gabriela
Galdino, Bianca Nunes
Fernandes, Vick Aliah, Renilda
Nunes da Silva
DIRECTORES
A Mirella Hoijman
It’s Christmas Eve of 1997. Camila (11) steals a shirt from her brother, rides S Nahuel Palenque
her bike and gets distracted by a Jewish boy buying fireworks. She throws E Ignacio Masllorens
herself in the water and splashes everyone. She plays with her cousins and
I Tali Slipak, Ornella Delia,
then puts on a dress for dinner. After observing her family through a VHS
camera, Camila begins to document herself. Veronica Scheneck, Mauro
Malena Schnitzer
DIRECTORA
MICAELA GONZALO
(Argentina, 1987)
2015 El corazón quiere lo que
quiere
2013 El entrenador de perros
C Protón Cine Micaela Gonzalo
micagonzalo@gmail.com
SELECCIÓN OFICIAL CORTOMETRAJE LATINOAMERICANO 70 [25] FICVALDIVIA
Olga Matte
DIRECTOR
NEMO ARANCIBIA
(Santiago, 1991)
2014 Vaivén
de un trabajador asiático fue arrastrado por el mar a una playa del Estrecho, Scalabre
cerca del Sector Discordia. F Andrés Jordán
S Andrés Zelada
In mid-November, three corpses were found floating in the Strait of
Magellan, fastened to life jackets, cell phones, computers and passports. I Carmen Godoi, Onoria Jimenez,
Two of them presented malnutrition, the other scurvy and typhus. A fourth Winston Alarcón, Samuel
body was never found. On December 3, another corpse appeared on the
Barrientos, Fernando Ramirez,
beach, eaten by the seagulls. In May 2017, the unidentified body of an Asian
worker was pulled by the sea to a beach in the Strait, near the Discordia Julián Ramirez, Sang Won Yoon,
sector. Curtis Putralk
DIRECTOR
(Chile, 1989)
2018 Why Are They Equipped with
Eyes?
C Le Fresnoy – Studio National 2015 Appels téléphoniques
fcoteare30@gmail.com
2014 Samanta
2013 El gran padre
SELECCIÓN OFICIAL CORTOMETRAJE LATINOAMERICANO 72 [25] FICVALDIVIA
(Colombia, 1983)
2017 La libertad
2016 Sol negro
2012 Aequador
2011 Journey to a Land Otherwise
Known
Simón Velez
DIRECTOR
SIMÓN VÉLEZ
(Colombia, 1990)
2016 Historia del agua
2015 Por ver la luz en tus pupilas
Huenten
DIRECTOR
(Chile, 1987)
2013 La última lluvia de verano
2011 Día del padre
2011 Los pies en la tierra, la vista
C AVISPACINE FELIPE AZÚA
hacia el cielo
felipeazua@gmail.com
[25] FICVALDIVIA 75 OFFICIAL LATIN AMERICAN SHORT FILM SELECTION
M Paulo Pereyra
A warrior lives with his wife and two children in an isolated cabin in the
A Manuel Bianchi
desert. A man arrives, demanding blood; he has come to avenge the death
of his brother. Now the family will witness the inevitable: the beginning of S Tomás Gistau Soldi
a cycle of violence. E Alejandro Small
Gines
DIRECTOR
(Perú,1991)
2016 xx (doble equis)
2013 Feriados
A Moena
After awakening from a premonitory dream, a young woman begins a journey
on which she confuses her own history with the history of the Chilean S Diego Soto
Antarctica, a mixing pot of autobiographical, historical and cinematographic
exploration. This short is a reflection on the colonization of the territory, as
well as an apology for the failure thereof. It mixes documentary research,
staging and family archive with historical-political data, creating a map of DIRECTORA
relationships that weaves personal, national and film history.
FLAVIA CONTRERAS DE LA
PARRA
(Chile, 1992)
2015 El fuego extinguible
Guillermo (55) crosses the Magellan Strait on a ferry. Impulsively, he calls S Claudio Vargas
his daughter Andrea (25) on the phone to teach her how to tell the joke of I Alejandro Goic, Paloma Salas
“Pier, the French fighter pilot”, while walking around the ferry. Although it’s
a wrong time for her, he demands that she learn the joke to tell it properly,
in a conversation that is to be last one they hold. DIRECTORA
VALENTINA MACPHERSON
(Chile, 1984)
2012 Las mujeres del pasajero
C Cinestacion
www.cinestacion.cl
valentina.macpherson@gmail.com
SELECCIÓN OFICIAL CORTOMETRAJE LATINOAMERICANO 78 [25] FICVALDIVIA
The children in Mamá, la luz are used to darkness, isolated as they are in a
remote mountain in the Island of Chiloe. After a power outage, the children
start to look at the arrival of darkness through filmmaking’s typical tool: the
camera.
DIRECTOR
MATÍAS A. DONOSO
(Ecuador, 1990)
2018 Mamá, la luz (ópera prima)
C Matías A. Donoso
Silvestre.a.donoso@gmail.com
www.marginalia.cl
79
80
REALIZACIÓN
mind. This short –fully made by children– addresses diversity, inclusion, Fuenzalida, Juan José Cuadra,
rights and the respect deserved to everyone no matter where they come Braulio Rodríguez, Jorge Villalón,
from.
Estefanía Chapa, Javiera Alarcón,
Maikel Rivera
REALIZACIÓN
C OJO DE PESCADO
festival@ojodepescado.cl
[25] FICVALDIVIA 83 OFFICIAL LATIN AMERICAN CHILDREN’S SHORT FILM SELECTION
Children from Runge search for natural treasures in one the commune’s
most important reservoirs. A place formerly used as a meeting space, REALIZACIÓN
for vacations, fishing and irrigation, is currently suffering the impacts of
pollution in the area. Niños y niñas de Runge - Escuela
Documentales de Barrio, colectivo
de formación audiovisual de niños,
niñas y jóvenes formado en 2013.
Children from Runge –
Neighborhood Documentary
School, an audiovisual training
workgroup for children and youth
created in 2013.
C MARIANA CARRASCO
mariana.c.ruiz@gmail.com
+56 9 8 2777494
SELECCIÓN OFICIAL CORTOMETRAJE INFANTIL 84 [25] FICVALDIVIA
LATINOAMERICANO
REALIZACIÓN
C Sofia Carricaburu
+549 1153792044
somosmariadelia@gmail.com
[25] FICVALDIVIA 85 OFFICIAL LATIN AMERICAN CHILDREN’S SHORT FILM SELECTION
owners. In this trip, he’ll meet Antonia, an old friend. F Denisse Mois
A Laura Nevado
S Daniel Silva
REALIZACIÓN
A las exhibiciones de Cine Chileno del Futuro solo podrán acceder aquellos
profesionales que cuenten con acreditación de Industria y Jurado.
The 25th Valdivia International Film Festival –once again in partnership with
CinemaChile and Film Commission Chile, joined this year by the Cultural Affairs
Bureau (DIRAC), Kiné Imágenes and Sonamos– presents the second edition of Future
Chilean Cinema. This event for national projects in the process of completion seeks
to contribute to the internationalization of our cinema by making future Chilean films
known to professionals from around the world. This year’s competition is divided
into two categories: Post-Production and First Cut. In the first category, the award-
winning film will receive a prize of US $ 1,500, the construction of the Master DCP
(courtesy of Kiné Imágenes), three days of sound mixing in studio 5.1 (courtesy of
Somanos) and a stay for the producer in the European Film Berlinale Market 2019
(includes lodging, airfare and accreditation), courtesy of CinemaChile. The second
category will be awarded US $ 1,500, plus a grant for the producer of the film, provided
by DIRAC and CinemaChile, to attend the international training program for emerging
producers at Rotterdam Lab 2019 (includes lodging, airfare and membership).
Only professionals who have Industry and Jury accreditation will be able to
access the Future Chilean Cinema exhibitions.
88
JURADO JURY
LORENZO ESPOSITO
Nacido en Roma en 1974, este programador y Born in Rome in 1974, this film programmer and
crítico de cine trabajó en el comité de selección de critic worked for the Locarno Festival’s selection
Locarno entre 2013 y 2018. Desarrolló programas committee from 2013 to 2018. He worked in the
para el Festival de Venecia en 2001, el Festival de programs for the Venice Festival in 2001, the Turin
Turín entre 2002 y 2006 y el Festival de Roma en Festival from 2002 to 2006 and the Rome Festival
2007. Es editor de la revista de cine en línea Film in 2007. He is the editor of the online cinema
Parlato. Desde 2003, trabaja en Fuori Orario, un magazine Film Parlato. Since 2003, he has been
programa del canal público de la televisión italiana, working for Fuori Orario, a program in the Italian
Rai Tre, sobre cine y cineastas. Actualmente se public TV broadcast Rai Tre, curating shows about
desempeña como consultor para Cinema du Réel. films and directors. Currently, he works as a
consultant for Cinema du Réel.
KAREL OCH
Estudió derecho y es licenciado en historia y teoría Studied law and graduated in film history and
del cine. Trabajó para el Festival International theory. He has worked for the Karlovy Vary IFF
de Karlovy Vary como miembro del comité de as a member of the selection committee since
selección desde 2001, a cargo de las secciones de 2001, in charge of the documentary selection
documentales, homenajes y retrospectivas, y en and the tributes and retrospectives. In 2010, Och
2010, fue nombrado director artístico. Es miembro was appointed KVIFF´s artistic director. He is a
de la Academia Europea de Cine y desde 2014, se member of the European Film Academy and since
desempeña como director del jurado de la sección 2014 he has been working as a tutor of the Venice
Venice Days y miembro de la comisión del Fondo Days jury as well as member of the commission
Cinematográfico de los Países Bajos que apoya el at the Netherlands Film Fund supporting the
desarrollo de proyectos a nivel internacional. development of projects at the international level.
ANDRÉA PICARD
Programadora, crítica y curadora independiente Film programmer, critic and independent curator,
de cine, trabaja desde 1999 para el Festival she has worked since 1999 for the Toronto
Internacional de Cine de Toronto. Se desempeñó International Film Festival. She was a longtime
durante mucho tiempo como programadora de programmer at Cinematheque Ontario, and for
la Cinemateca de Ontario, donde supervisa el whom she oversees Wavelengths, a program
programa Wavelengths que incluye películas, dedicated to experimental and avant-garde film,
ensayos y documentales experimentales y de essays and documentaries. She regularly publishes
vanguardia. Publica regularmente sobre cine on independent cinema and has organized
independiente y ha organizado numerosas numerous retrospectives and exhibitions in North
retrospectivas y muestras en América del Norte y America and in Europe.
Europa.
[25] FICVALDIVIA 89 OFFICIAL FUTURE CHILEAN CINEMA SELECTION
The night before boarding a ship, a woman, inspired on the life and work of
North American painter J.M. Whistler, sends oral letters to her friend Pedro,
a fan of novels with a nautical setting.
PRODUCTOR
PRODUCTORA
YENIFFER FASCIANI
(Chile, 1988)
2018 Arder
2017 Peón
2011 Joaquín
C Yeniffer Fasciani
2009 Soliloquio
yeniffer@nieblaproducciones.cl
[25] FICVALDIVIA 91 OFFICIAL FUTURE CHILEAN CINEMA SELECTION
MARTÍN CABELLO
(Chile)
C Natalia Isotta
n.isotta@udd.cl
SELECCIÓN OFICIAL CINE CHILENO DEL FUTURO 92 [25] FICVALDIVIA
In the days before Christmas, 10 years have gone by since Lina (40) traveled
to Chile to work as a housemaid, leaving her son with her mother in Peru.
Manuel (42), a former boss, requests her to supervise the construction of MARÍA PAZ GÓNZALEZ
a pool for his daughter Clara (10), in his new house. In a partly-inhabited
(Chile, 1981)
dwelling, Lina spends her days taking care of Clara while sneaking out
2011 Hija
at night to have casual sex with strangers who face her with her aching
loneliness. PRODUCTOR
GIANCARLO NASI
(Chile, 1985)
2018 Marilyn
2016 Jesús
2015 Chilefactory
C Giancarlo Nasi
nasi.giancarlo@gmail.com
[25] FICVALDIVIA 93 OFFICIAL FUTURE CHILEAN CINEMA SELECTION
40 years ago, Oscar decided to live under a cliff, on the coast, completely
isolated, to enjoy his freedom. When he’s hungry he dives or hunts, and he
spends time reading or listening to music. This decision involves not only
physical, but also emotional efforts to survive: two contrasting personalities FRANCISCO BERMEJO
dwell in his fragile body, who put that freedom to test. (Chile, 1972)
1995 El peón del rey
Fecha estimada de finalización / Estimated completion date:
Agosto 2019
Casa productora / Production house: Panchito Films PRODUCTOR
Duración estimada / Estimated running time: 80’
FRANCISCO HERVÉ
(Chile, 1971)
2018 La Carola
2014 Los castores
2011 Hija
C Francisco Hervé
info@panchitofilms.cl
SELECCIÓN OFICIAL CINE CHILENO DEL FUTURO 94 [25] FICVALDIVIA
One summer morning, the Del Solar family leaves their country house to pick
up their oldest son at the airport, while Vicente stays home alone. He is in
charge of setting the table and finishing dinner to welcome his brother, his
hero. Vicente wanders around the large house and enjoys being alone. The DIEGO ESCOBAR
day goes by, then the night, and the next day comes. The rest of the family (Chile, 1990)
doesn’t come back. If Vicente had known, he would have said goodbye. 2017 Belleza
2017 Il Discobolo
Fecha estimada de finalización / Estimated completion date: 2016 Porta Furba
Enero 2019
Casa productora / Production house: Ico Films
Duración estimada / Estimated running time: 63’
C Diego Escobar
diego.chirimop@gmail.com
[25] FICVALDIVIA 95 OFFICIAL FUTURE CHILEAN CINEMA SELECTION
A 10-storey building was raised at 127 meters from the filmmaker’s house.
IGNACIO AGÜERO
Before, he could film and actually shot the Andes from the roof of his
house. Now, the building stands between the Andes and his house. One (Chile, 1952)
day he wants to meet those who live in the building, find out who they are, 2016 Como me da la gana 2
where they come from and why are they there. Wanting to know about the 2011 GAM
movements and histories of his neighbors sparks an interest on his own 1988 Cien niños esperando un tren
movements and history, until he moves to where he’s now.
PRODUCTORA
Fecha estimada de finalización / Estimated completion date:
Diciembre 2018
Casa productora / Production house: Manufactura de películas
Duración estimada / Estimated running time: 100’
MACARENA LÓPEZ
(Chile, 1971)
2016 Rara
2011 La ducha
2009 Turistas
C Macarena López
macarena@manufacturadepeliculas.cl
SELECCIÓN OFICIAL CINE CHILENO DEL FUTURO 96 [25] FICVALDIVIA
CONSTANZA CONTRERAS
(Chile, 1987)
2018 Vida Perra
2017 El carteo
2015 Los años de luz
CINEASTAS INVITADOS 99
GUEST FILMMAKERS
100
BERTRAND MANDICO
CINEASTA INVITADO • GUEST FILMMAKER
101
JAIME GRIJALBA
At the beginning of the 20th century on the island of Réunion, five entitled Magnusdottir
adolescents, enamored with the occult, commit a savage crime. A Dutch S Simon Apostolou, Laure Arto,
sailor (called The Captain) takes them for a repressive cruise on a haunted, Daniel Gries
dilapidated sailboat. Exhausted by the Captain’s methods, the five boys
I Pauline Lorillard, Vimala
prepare to mutiny. Their port of call is a supernatural island with lush
vegetation and bewitching powers. Pons, Diane Rouxel, Annaël
Nathalie Richard
JEANNETTE MUÑOZ
CINEASTA INVITADO • GUEST FILMMAKER
107
Envíos (2005-), una serie de cortometrajes que Muñoz sigue filmando en forma
continua, es quizás su proyecto más ambicioso, pero, al mismo tiempo, el más radical
en su simpleza. Desde 2005, Muñoz filma fragmentos y situaciones que envía a sus
amigos como cartas filmadas, muchas de ellas a la cineasta Ute Aurand. Se trata de
trozos de su realidad imposibles de llevar consigo en la maleta, pero que guarda para
siempre con su cámara de 16mm. Nada más se dice, solo el nombre del destinatario.
Pero en la sumatoria de estos envíos surge una tensión entre estas imágenes íntimas
expuestas ante el público. Puchuncaví (2014-), es igualmente un proyecto de largo
plazo, donde Muñoz se propone filmar el mismo sitio cada vez que lo visita en su
paso por Chile. Este pueblo costero tiene una especial connotación como fijación
para estas mutaciones temporales que la cámara de Jeannette registra, pues fue
antiguamente una estación de la ruta del Inca, y hoy, es un portal de carga pesquera.
De hecho, la carga y la llegada son aspectos fundamentales en la obra de Jeannette,
pues su proceso creativo está cargado con estas acciones de movimiento físico.
Jeannette Muñoz was born in Santiago, but went off on a long trip that landed
her in Switzerland in the nineties, where she remains. The distance from Chile and her
situation as a foreigner subtly seeps through in her work, developing a way of looking
at everyday objects and landscapes which –given the distance of her self-imposed
exile– creates affectionate images to be saved in the delicate cinematographic pac-
kaging of her camera.
Both in Envíos and in Puchuncaví, Muñoz works over invisible tracks, objects and
people disregarded by the rest of the world, but which under her microscope gain a
particularly graceful beauty in their silent gestures. Vestiges of past eras –Inca, Ma-
puche; of industrial pollution; of sand and waves; of stray dogs on the beach; of work
by friends, their muscles and faces, their laughter and trades. The way she conceives
her work-in-progress, as an ongoing development without a pre-established comple-
tion date, is both a political and aesthetic decision which contravenes the productive
rationale prevailing in today’s filmmaking.
[25] FICVALDIVIA 109 GUEST FILMMAKERS
Puchuncaví era el final del Camino del Puchuncaví was the south terminal of D G P F E
Inca hacia el Sur y en mapudungun the Inca Road and means ‘a place where Jeannette Muñoz
significa ‘lugar donde abundan las fiestas abound’ in Mapuche language.
fiestas’. Esto contrasta con el reciente This is in stark contrast with the area’s
desarrollo industrial de la zona, que more recent industrial development, Jeannette Muñoz
incluye refinerías de cobre, centrales including copper refineries, steam power jeannmunozzz@hotmail.com
termoeléctricas y un puerto. Esta película plants and a port. This work-in-progress http://jeannettemunozcandia2.
en progreso es una colección de 14 is a collection of 14 fragments shot in blogspot.com/
fragmentos, todos filmados en esta zona, the area that interact in the here and
que interactúan en el aquí y el ahora now, revealing a landscape that could
dejando emerger un paisaje que puede simultaneously be many landscapes.
ser a la vez muchos paisajes.
[25] FICVALDIVIA GUEST FILMAKERS
110
MALENA SZLAM
CINEASTA INVITADO • GUEST FILMMAKER
111
Este programa es una sesión de cine avasallante donde preponderan desde las
percepciones múltiples a nociones conceptuales ilustradas: imágenes que fulminan,
pantallas que destellan y se multiplican, silencios que arroban para potenciar la
visualidad y un meticuloso diseño sonoro que se expande en el Altiplano. Entre el
embeleso y la serenidad.
Lunar Almanac (2013) propone más de 4000 reflejos lunares en poco menos de 4
minutos. Una retahíla de destellos que conduce la mirada sobre la pantalla de fondo
oscuro, haciendo contacto visual directo con la luna. Morfología de un sueño (2015-
2018) es onirismo puro. Recrea un estado de sueño en un bosque de California. Un
sueño azulado, inquieto, sombrío, pero excitante a la vista.
Cinema is a large enough land where Chile and Canada can be closely connected
through the experimental pathways of Malena Szlam; here, different textures come
together to represent materiality, transient nature and the alienating condition of
images.
Rhythm Trail (2010 -2011) is another silent exhibition of lights which we follow
by means of synchronized blinking. Edited in a Super 8mm camera, they are fugacious
glances over nature that burns between light and fire. Beneath Your Skin of Deep
Hollow (2010) is like darkness that illuminates with a burst of colors. A trance in blue.
Lunar Almanac (2013) proposes more than 4000 moon reflections in a little less
than 4 minutes. A string of flashes that guide sight over a dark backdrop screen,
making direct contact with the moon. Morphology of a Dream (2015- 2018) is purely
oneiric. It recreates a sleeping state in a California forest. A blueish, restless and
somber dream, which is nonetheless exciting to watch.
Altiplano (2018) is the only sonorous work of the program. Set between the north
of Chile and the Argentinian northwest, we feel the dryness of the landscape; times
merge; and the colors of nature alternate to experiment or distort the canon of what
it means to be real. Experimental cinema is abstraction, transformation, and Malena
Szlam’s work finds joy in such freedom.
[25] FICVALDIVIA 113 GUEST FILMMAKERS
Bajo tu lámina de agujero profundo traduce la noche Beneath Your Skin of D F E Malena Szlam
y el agua en movimientos arrítmicos de luz en una Deep Hollow translates
fuga de colores. Impresiones variables surgen en night and water into
la superficie de una calma inquieta, mientras la arrhythmic movements
oscuridad ilumina los reflejos y la vista. of light in a fugue
¡Oh espejo!
Agua fría por el hastío helada en tu marco, of colors. Shifting
Cuántas veces y durante cuántas horas, desolada impressions emerge on
De los sueños y buscando en mis recuerdos que son the surface of an agitated
Como hojas bajo tu lámina de agujero profundo, stillness, while darkness
Me aparecí en ti como una sombra lejana, illuminates reflections
Pero, ¡horror!, algunas noches, en tu fuente severa and sight.
¡He conocido de mi sueño confuso la desnudez!
– Stéphane Mallarmé, Hérodiade.
CINEASTAS INVITADOS 114 [25] FICVALDIVIA
Como las notas de un diario de vida, Like notes written in a diary, Rhythm D F E Malena Szlam
Rhythm Trail es una película abierta Trail is an open-ended film composed of
compuesta por una colección de a series of Super 8mm sketches edited
escenas en Súper 8mm, editadas in-camera. These collected notes are
directamente en cámara. Estas traces of moments and places that
notas recopiladas son vestigios de reflect on the immediacy of sight.
momentos y lugares que se reflejan en
la inmediatez de la visión.
La luz atraviesa la oscuridad con un Light breaks the darkness in playful D F E Malena Szlam
éxtasis lúdico. Película dedicada a mi rapture. A film dedicated to my dear
querida amiga Javiera. friend Javiera.
[25] FICVALDIVIA 115 GUEST FILMMAKERS
Malena Szlam
szlammalena@gmail.com
https://vimeo.com/malenaszlam
Distribuido por:
Canadian Filmmakers Distribution
Centre http://www.cfmdc.org
Light Cone https://lightcone.org/en
[25] FICVALDIVIA GUEST FILMAKERS
117
118
MUESTRA
PARALELA
PARALLEL PROGRAM
119
RAÚL CAMARGO
Es por ello que la Muestra 25 Años/25 Films Chilenos revisará las obras
inaugurales de estos emblemáticos directores nacionales, convirtiéndose en
una oportunidad única para ver los primeros pasos de cineastas que hoy son
los más importantes de la escena nacional. Presentaremos cortometrajes que
no han sido exhibidos en muchos años, con lo cual crearemos una experiencia
cinéfila extraordinaria, llena de hallazgos y sorpresas. A su vez, exhibiremos seis
largometrajes de directores íntimamente ligados a FICValdivia. Cinco de ellos son
creadores que comenzaron filmando directamente largos y su presencia ha sido clave
en estos 25 años; el sexto es el director que ha exhibido más películas en nuestro
Festival: Sebastián Lelio, quien estrenó 10 obras en Valdivia.
Esta muestra es, por lo tanto, un agradecimiento al cine chileno que nos ha
permitido ser lo que hoy somos.
¿Y qué somos?
Es el propio Sebastián Lelio quien nos entrega esta hermosa y vibrante definición,
con la que les damos la bienvenida y los invitamos a disfrutar de la muestra 25
Años/25 Films Chilenos:
121
SEBASTIÁN LELIO
Gracias por invitarnos a todos a esta fiesta de la que somos al mismo tiempo
juez y parte. Que las películas le respondan a las películas y que siga ese diálogo en
extremo lujoso y sofisticado que es la conversación del cine. Una forma de habitar,
de pensar y de sentir el mundo. Y que Valdivia siga allí, recibiéndonos a todos,
invitándonos como siempre a descubrir territorios y placeres desconocidos. Larga
vida al festival de cine de Valdivia. ¡Gracias Valdivia!”
122
RAÚL CAMARGO
Therefore, the 25 Years/25 Chilean Films Program will review the initial works
of these emblematic national directors, becoming a unique opportunity to watch the
early steps of those who today are the most important filmmakers of the national
scene. There will be shorts that have not been screened for a long time, creating
a remarkable experience for any film buff, full of discoveries and surprises. At the
same time, we will screen six feature length films from directors closely linked to
FICValdivia. Five of them belong to filmmakers who started making feature lengths
and whose presence has been crucial these 25 years. The sixth feature belongs to
a director who has screened more films at the Festival than anyone else: Sebastián
Lelio, who premiered 10 films in Valdivia.
This program is, therefore, a way to thank Chilean cinema, which has made us
into what we are today.
It is Sebastián Lelio himself who brings this genuine and bright definition of what
we are. We share it and invite you to enjoy the 25 Years/25 Chilean Films Program:
123
SEBASTIÁN LELIO
“Valdivia has always felt like a celebration of what has happened to us. Of the
attempts, the successes, the journeys without a clear destination, of the powerful
films and also the failed ones, of everything that we have all been collectively.
At the Valdivia Festival, I was able to premiere my first shorts. Somebody was
interested, they paid my ticket, and they covered my room and board! I could not
believe it. That was in 1996 and 1997. I was a film student (I still am in a way) and
Valdivia was the meeting place with those who had more experience, with those who
had opened the way for me. It was also the place where I met so many people who
would later be road companions, accomplices, co-creators.
I fondly remember the train ride to the 2005 edition. A key year. In that train to
the South traveled a generation of filmmakers that was not yet aware of what it was.
I carried the film canisters for La sagrada familia in bags that I did not take off. It was
intoxicating, physically and spiritually; to recognize in the face of friends the same
hunger for cinema that devoured me.
There were so many people who had movies inside, who wanted to film, without
thinking about figures because there was nothing to calculate. There was urgency,
thirst for revenge and thirst for artistic justice. Febrile conversations. The exciting and
candid feeling of being part of something that we all had on the tip of our tongue but
that we did not dare yet to name. We were part of a kind of wave, an electric current, a
fertile moment. Hunger in its pure state, almost innocent. That hunger is, perhaps, the
most valuable thing we can count on. It’s hunger you have to take care of. It shapes us,
teaches us, pushes us. It’s that same thirst for beauty that the Festival of Valdivia has
contributed to satisfying and potentiating.
Thank you for inviting us all to this celebration of which we are both judge and
jury. May films speak to films and may the extremely bountiful and sophisticated
dialogue of which the conversation of cinema is made of continue. This is a way to
inhabit, to think and to feel the world. May Valdivia remain, welcoming us all, inviting
us as always to discover unknown territories and pleasures. Long live the Valdivia Film
Festival. Thanks Valdivia!”
25 AÑOS / 25 FILMS CHILENOS 124 [25] FICVALDIVIA
CHILE, 1994
25’ // VHS
IO: Español / Spanish
S: No
ANDRÉS WOOD
REUNIÓN DE FAMILIA (Chile,1965)
Algo fundamental para los personajes Something crucial happened before the Filmografía FICValdivia
ocurrió antes del comienzo del relato, beginning of the story, the night before
la noche anterior o muchos años atrás, or many years ago, and still echoes – 2011 Violeta se fue a los cielos
y sus ecos resuenan amortiguados y persistently though muffled– in the 2004 Machuca
persistentes en las situaciones menos least dramatic situations. 1999 El desquite
dramáticas. 1994 Reunión de familia
CHILE, 1994
8’ // 35 MM
IO: Español / Spanish
S: No
TOMÁS WELSS
REUNIÓN (Chile, 1965)
D G P F E Tomás Welss
S M Miguel Miranda
contacto@tomaswelss.cl
[25] FICVALDIVIA 125 25 YEARS / 25 CHILEAN FILMS
ALICIA SCHERSON
GALLO DE PELEA (Chile, 1974)
Esta es la historia de un gallo de pelea; This is the story of a gamecock; the Filmografía FICValdivia
la tradición del juego y el baile en la game’s tradition and dancing in the city
ciudad de Trinidad, Cuba. of Trinidad, Cuba. 2017 Vida de familia
2013 Il futuro
2009 Turistas
2005 Play
1996 Rígido espantajo crispado
1996 Gallo de pelea
D G Alicia Scherson
P Escuela Internacional de Cine y
TV EICTV - Cuba
aliciascherson@gmail.com
CHILE, 1996
23’ // DIGITAL
IO: Español / Spanish
S: No
MARIALY RIVAS
DESDE SIEMPRE (Chile, 1976)
Santiago, 1996. Un reconocido drag Santiago, 1996. A renowned drag queen, Filmografía FICValdivia
queen, un prostituto, un hombre a male prostitute, a bisexual man, a
bisexual, un homofóbico y variados homophobic man and several other 2017 Princesita
personajes nos otorgan sus honestos characters share their honest and stark 2012 Joven y alocada
y descarnados testimonios sobre la opinions regarding homosexuality, 2010 Blokes
homosexualidad, confrontándonos al facing us with the repressive situation in 1997 Desde siempre
represivo Chile de los noventa. Chile during the nineties.
CHILE, 1998
34’ // DIGITAL
IO: Español / Spanish
S: No
FERNANDO LAVANDEROS
EL CIELO Y LA TIERRA SON TAN VIEJOS COMO (Chile, 1974)
YO Y LAS 10 MIL COSAS SON UNA SOLA
Filmografía FICValdivia
Dos jóvenes recorren la ciudad de Two young men run errands during a
Santiago durante un día laboral con el business day in the city of Santiago. They 2015 Sin norte
fin de realizar un trámite burocrático. pass by several urban characters as they 2013 Las cosas como son
En su recorrido, se topan con diversos walk holding a conversation about the 2010 Queso pimentón
weather and other “momentous” issues. 2002/2003 Y las vacas vuelan
personajes urbanos mientras hablan
1998 El cielo y la tierra son tan
sobre el tiempo y otros temas
viejos como yo y las 10 mil cosas
“importantes”. son una sola
CHILE, 1998
3’ // VHS
IO: Español / Spanish
S: No
MATÍAS BIZE
SE ARREGLAN FOTOS (Chile, 1979)
Una mujer necesita arreglar una foto A woman needs to restore a picture Filmografía FICValdivia
pues le falta un detalle importante. since an important detail is missing.
Para ello, recurre a un especialista y, She goes to an expert and, accidentally, 2010 La vida de los peces
accidentalmente, descubre la extraña discovers the strange way through which 2007 Lo bueno de llorar
manera que este tiene de arreglar las he restores pictures. 2005 Juego de verano
fotos. 2005 En la cama
2003 Sábado
1998 Se arreglan fotos
D E Matías Bize
P Baches Producciones, Simón
Bergman, Matías Bize, Gabriel
Díaz, José Palma, Sergio Pavez. matiasbize@gmail.com
F José Ignacio Palma
I María de los Angeles Balcells,
Benjamín Balcells
[25] FICVALDIVIA 127 25 YEARS / 25 CHILEAN FILMS
CHILE, 2002
10’ // DIGITAL
IO: Español / Spanish
S: English
VIVIENNE BARRY
COMO ALITAS DE CHINCOL (Chile, 1953)
Este corto es un homenaje a las This short film is a tribute to poor Filmografía FICValdivia
mujeres de las poblaciones pobres urban women who, during Pinochet’s
quienes, durante la Dictadura de Dictatorship, made patchworks with 2015 Atrapados en Japón
Pinochet, hicieron de la artesanía una different materials to denounce 2005 Mongetu, rey Orelie.
denuncia social creando arpilleras political repression. In this animated 2002 Como alitas de chincol
con trapos y otros materiales. En esta film, patchworks come to life for a few 1997 Deriva.
animación, las arpilleras cobran vida y seconds and become a silent chronicle
se convierten en una crónica muda de of despair and denunciation in times of
denuncia en un tiempo de opresión y oppression and censure.
censura.
CHILE, 2004
15’ // DIGITAL
IO: Español / Spanish
S: English
CRISTIÁN JIMÉNEZ
EL TESORO DE LOS CARACOLES (Chile, 1975)
Tras encontrar un valioso tesoro, After finding a treasure, Quique commits Filmografía FICValdivia
Quique comete un crimen. Su madre a crime. His mother plots to hide his
urde un plan para encubrir el delito y offense and keep the jewels for herself, 2017 Vida de familia
quedarse con las joyas. Para lograrlo but to accomplish her goal she must 2014 La voz en off
deberá doblegar tanto la estupidez de make up for Quique’s sloppiness and 2011 Bonsai
Quique como la astucia de los policías outsmart the policemen investigating 2009 Ilusiones ópticas
que investigan el caso the case. 2006 XX
2004 El tesoro de los caracoles
2003 Hong Kong
D G P Cristián Jiménez
F Inti Briones Bruno Bettati
E Galut Alarcón Producción y Distribución de Cine
S Andrés Carrasco jirafa spa.
M Angel Parra bruno@jirafa.cl
I Roberto Farías, Luz Jiménez, Hugo www.jirafa.cl
Medina, Alejandro Trejo
25 AÑOS / 25 FILMS CHILENOS 128 [25] FICVALDIVIA
CHILE, 2005
21’ // DIGITAL
Sin diálogos / No dialogue
Cuatro mujeres trabajadoras de una Four women working in a factory meet Filmografía FICValdivia
fábrica se encuentran por casualidad y accidentally and organize a trip to the
organizan una excursión a la playa. beach. 2018 Sobre cosas que me han
pasado
2016 El viento sabe que vuelvo
a casa
2014 11 habitaciones en Antártica
2013 Ver y escuchar
2011 Verano
2010 Tres semanas después
2009 Trance
2008 El cielo, la tierra y la lluvia
D G E José Luis Torres Leiva 2005 Ningún lugar en ninguna
P Macarena López parte
F Francisco Schultz 2005 Obreras saliendo de la fábrica
S Ernesto Trujillo torresleiva@gmail.com
A Catalina Devia
I Diana Sanz, Julieta Figueroa,
Paulina Chamorro y Sybila Oxley
CHILE, 2005
13’ // 35MM
IO: Español / Spanish
S: English
SEBASTIÁN BRAHM
LAS BICICLETAS Chile, 1973)
Nicolás está furioso. Otra vez entraron Nicolas is furious. They broke into his Filmografía FICValdivia
a robar a su casa y se llevaron su house again and stole his bike. Outside,
bicicleta. Afuera, lejos, en barrios far away and in districts he’s never been 2015 Vida sexual de las plantas
que no conoce, la ciudad está medio to, the city is partially destroyed due 2011 El circuito de Román
destruida por un terremoto. Hay toque to an earthquake. There’s curfew and 2005 Las bicicletas
de queda y a Pinochet le preguntan si va Pinochet is asked whether he’ll declare
a declarar estado de catástrofe. Nicolás state of catastrophe. Nicolas goes with
acompaña a su madre al tribunal para his mother to court to recognize the
reconocer al ladrón. burglar.
CHILE, 2006
18’ // DIGITAL
IO: Español / Spanish
S: No
DOMINGA SOTOMAYOR
CESSNA (Chile, 1985)
CHILE, 2005
25’ // DIGITAL
IO: Español / Spanish
S: No
MAITE ALBERDI
LOS TRAPECISTAS (Chile, 1983)
Dos hermanos trabajan como payasos Piñon and Castaña are two brothers Filmografía FICValdivia
en el circo. A Piñón no le interesan who work as clowns in the circus. Piñon
los estudios y sueña con ser artista does not care for school and dreams of 2017 Los niños
circense, mientras que su hermano working as a circus performer, while 2015 La once
preferiría seguir otra carrera antes que his brother would rather pursue his 2011 El salvavidas
hacer lo mismo que sus padres. Ambos own career than follow in his parents’ 2007 Las peluqueras
deben compatibilizar el colegio con el footsteps. Both must balance school 2006 Los trapecistas
circo, pero la estabilidad es difícil en and the circus but this is not an easy
ese contexto. task.
D G Maite Alberdi
P Alvaro Marmolejo
F Diego Sepúlveda
S Maite Alberdi, Diego Sepúlveda
maitealberdi.s@gmail.com
www.micromundo.cl
25 AÑOS / 25 FILMS CHILENOS 130 [25] FICVALDIVIA
CHILE, 2007
13’ // 35MM
IO: Español / Spanish
S: English
ALEJANDRO FERNÁNDEZ
LO QUE TRAE LA LLUVIA ALMENDRAS
A fines del invierno, una pareja de Near the end of winter, an elderly couple (Chile, 1971)
ancianos campesinos del sur de Chile of farmers in southern Chile await the
Filmografía FICValdivia
esperan la visita de su hija y su nieto. visit of their daughter and grandson.
El hombre despeja un canal de regadío The man clears an irrigation canal and 2016 Aquí no ha pasado nada
y la mujer hace quesos para vender a la the woman makes cheeses to sell by 2014 Matar a un hombre
orilla del camino. El tiempo transcurre the side of the road. Time passes slowly 2011 Sentados frente al fuego
lentamente y en silencio, en medio de la and silently amidst the rain and the 2009 Huacho
lluvia y el sol intermitente. intermittent sun. 2007 Desde lejos
2007 Lo que trae la lluvia
2005 La ofrenda
D G E Alejandro Fernández S Pablo Pinochet
I Olga Muñoz, Antonio Guajardo,
P Alejandro Fernández, Eduardo Francisco Almendras, Camila
Villalobos, Juan Fernández, Rodríguez, Rosa Navarrete
fernandezfilm@yahoo.com
Adriana Almendras, David Parada,
Chamila Rodríguez
F Inti Briones
CHILE, 2007-2008
8’ // DIGITAL
IO: Español / Spanish
S: English
CHILE, 2010
10’ // DIGITAL
IO: Español / Spanish
S: No
Una pareja se separa. Elisa consiguió A couple breaks apart. Elisa found a job Filmografía FICValdivia
trabajo en el extranjero y Manuela, abroad and Manuela, with whom she has
con quien vive hace cinco años, ha been living for five years, decided not to 2016 Rara
decidido no acompañarla. Incapaces de leave with her. Unable to say goodbye, 2012 Gleisdreieck
despedirse, pasarán la última mañana they’ll spend their last morning together 2010 La ducha
juntas refugiadas bajo el agua de la under the shower.
ducha.
CHILE, 2009
25’ // DIGITAL
IO: Español / Spanish
S: English
CHRISTOPHER MURRAY
EL MONTE DE GABRIEL (Chile, 1985)
Gabriel sube cada semana el monte Every week, Gabriel climbs the hill Filmografía FICValdivia
cerca de su pueblo en busca de una nearby his town looking for a divine
manifestación divina. Esta vez, una revelation. This time, a young neighbor 2016 El Cristo ciego
joven vecina interrumpirá su silencio. will interrupt his silence. 2014 Propaganda
2010 Manuel de Ribera
2010 El monte de Gabriel
2007 Quedar
D Christopher Murray
G E Christopher Murray, Pablo Nuñez
P Soledad Santelices
F Francisco Almenara
S Antonio Luco
I Juan Carlos Acuña, Daniela ccmurray@gmail.com
Espinoza
25 AÑOS / 25 FILMS CHILENOS 132 [25] FICVALDIVIA
CHILE, 2012
29’ // DIGITAL
IO: Español / Spanish
S: English
TIZIANA PANIZZA
AL FINAL: LA ÚLTIMA CARTA (Chile, 1972)
Cuando era niña, un mensaje en una When I was a young girl, a message in a Filmografía FICValdivia
botella era una imagen misteriosa, bottle was a mysterious image, a letter
una carta a la deriva navegando sin adrift navigating free from haste. My 2017 Tierra sola
urgencia. En un tiempo sin memoria grandmothers live in a time without 2014 Tierra en movimiento
habitan mis abuelas y mi pequeño hijo. memory, together with my child. This 2012 Al final: la última carta
Este documental es una carta hacia el documentary is a letter sent to the future 2008 Remitente:una carta visual
futuro con el registro de este momento, and recording the present moment; an
un intento por conservar un antiguo rito attempt to preserve an old family ritual.
de familia.
D G, F, E, S Tiziana Panizza
P Maria José Egaña / Macarena
Fernández Domestic Films
M Sebastián Vergara tpanizza@yahoo.com
http://tpanizza.wixsite.com/
domestic-films/about
CHILE, 2012
17’ // DIGITAL
IO: Español / Spanish
S: English.
CLAUDIA HUAIQUIMILLA
SAN JUAN LA NOCHE MÁS LARGA (Chile, 1987)
Cheo es un niño inquieto y desadaptado, Cheo is a restless and misfit boy who Filmografía FICValdivia
maltratado por su padre cada vez is abused by his father every time he
que este bebe en exceso. La fiesta de overdrinks. The boy could revenge during 2016 Mala junta
San Juan que prepara su comunidad the San Juan celebration prepared by his 2012 San Juan, la noche más
mapuche podría ser la instancia donde Mapuche community. larga
Cheo encuentre su venganza.
GABRIEL OSORIO
HISTORIA DE UN OSO (Chile, 1984)
Un viejo oso sale todos los días a An old bear goes out to the same street Filmografía FICValdivia
la misma esquina para montar un corner every day to perform a homemade
espectáculo callejero de marionetas de tin puppet show. Passers-by get to see 2014-2015 Historia de un oso
hojalata, en un pequeño teatro que él the story of a circus bear separated 2006 El secavasos
mismo ha construido. Los transeúntes from his family and his journey to return
pueden ver la historia de un oso de circo home.
que fue separado de su familia y su
viaje para volver a casa.
Punkrobot/Trueno
D Gabriel Osorio patoescala@punkrobot.cl
G Gabriel Osorio, Daniel Castro www.punkrobot.cl
https://m.facebook.com/
P E Pato Escala
PunkrobotEstudioAudiovisual
S Christian Cosgrove
M Dënver
25 AÑOS / 25 FILMS CHILENOS [25] FICVALDIVIA
134
[25] FICVALDIVIA 135 25 YEARS / 25 CHILEAN FILMS
(Argentina, 1974)
Filmografía FICValdivia
armed robbery. The next day, a new hero in disguise makes the headlines. Mateluna, Iván Jara.
His younger brother starts feeling notoriously better after this avenger came
into scene, reason enough for Maco to begin his career as a masked hero DIRECTOR
and heal his brother.
(Chile, 1978)
Filmografía FICValdivia
2014 Redentor
2014 Santiago violenta
2012 Tráiganme la cabeza de la
mujer metralleta
C Mandrill Films Ernesto Díaz, Nicolás Ibieta
2009 Mandrill
diazpictures@gmail.com
2007 Mirageman
nicoibieta@gmail.com
2006 Kiltro
[25] FICVALDIVIA 137 25 YEARS / 25 CHILEAN FILMS
DIRECTORES
SEBASTIÁN SILVA
(Chile, 1979)
Filmografía FICValdivia
de la casa se interrumpen cuando desconocidos tocan el timbre y al hacerlo, F Ignacio Agüero, Arnaldo
entran en la película.
Rodríguez, Gabriel Díaz,
The filmmaker’s home in Santiago, Chile, opens directly onto the sidewalk/ Claudia Serrano
street. The door marks the border between his inner space and the outside E Sophie França
area. The inner space holds the filmmaker’s personal history, while the M Beethoven / Liszt Pastoral,
outside area comprises the city, which is made up by millions of inner
Bach, Las variaciones de
spaces. The film shows the relationship between a house’s interior (that
of the filmmaker) and the city, during one year. The events in the houses’ Goldberg
interior space are interrupted when strangers ring the doorbell and in doing
so, are introduced into the film.
DIRECTOR
Premiere Mundial en el 19º FICValdivia 2012, estrenándose en la sección
Gala, dedicada a los grandes maestros del cine contemporáneo.
World Premiere at the 19th FICValdivia 2012, under Gala, the section
devoted to great masters of contemporary cinema.
IGNACIO AGÜERO
(Chile, 1952)
Filmografía FICValdivia
Yermen is a transsexual in his mid-thirties who wishes to get a sex S Roberto Collío, Andrés
reassignment surgery but has been unable to save enough money to do it. Fortunato
He works at a call center reading the tarot and lives in La Victoria, an old M Eduardo Svart
outlying quarter in Santiago; he dreams about leaving one day and becoming
I Paula Dinamarca, Josefina
a woman. He decides to take a shot at a plastic surgery TV show where he’ll
Ramírez, Camilo Carmona
meet a mysterious immigrant, who wants to get a surgery to look like Naomi
Campbell.
DIRECTORES
Ópera prima, Premiere Mundial en la competencia internacional del 20º
FICValdivia 2013; mención especial del jurado.
Opera prima, World Premiere and international feature Special Jury Mention
at the 20º FICValdivia 2013.
Filmografía FICValdivia
PABLO LARRAÍN
(Chile, 1976)
Filmografía FICValdivia
2016 Neruda
2015 El club
2012 No
C Rocio Jadue Z. 2010 Post mortem
rocio@fabula.cl 2008 Tony Manero
www.fabula.cl 2006 Fuga
1999 Después del olvido
[25] FICVALDIVIA 25 YEARS / 25 CHILEAN FILMS
141
142
HOMENAJES 142
TRIBUTES
143
1948 - 1985
ANA MENDIETA
HOMENAJE • TRIBUTE
144
Mendieta was born in Havana in 1948 and died in New York in 1985,
under strange circumstances, while rushing from the window of her
apartment after an argument with her partner, the artist Carl Andre. She
boasts a short but extremely prolific career in photography, performance,
drawing, and sculpture, as well as videos and films.
She was one of the first artists to work explicitly on political identity
and feminism, using her own body as a battleground. Her work around
the body and the figure and representation of women has its roots in a
purely political and feminist claim: Mendieta worked in an environment
dominated by men, the world of art in the 80s, in the United States.
Her performance-films use her own body as a container and receiver of
stigmas, readings, prejudices, other people’s writings; the almost tragic
way of subjecting her body to violence is related to a questioning of the
traditional role of women.
The selection we have the honor to exhibit here in Valdivia has been
made in collaboration with The Estate of the Ana Mendieta Collection and
the Galerie Lelong, responsible for the preservation of her legacy, which
includes more than 100 audiovisual works made over a period of 10 years.
Her works have been presented in spaces such as the Whitney Museum of
American Art in New York, the Museum der Moderne Salzburg in Austria
and the Wavelenghts section of the Toronto Festival.
HOMENAJES 146 [25] FICVALDIVIA
UNTITLED
c. 1971 // 2’
Cinta en Súper 8 digitalizada en alta definición, color, muda.
Super-8mm film transferred to high-definition digital media, color, silent.
DOOR PIECE
1973 // 3,20’
Cinta en Súper 8 digitalizada en alta definición, color, muda.
Super-8mm film transferred to high-definition digital media, color, silent.
BURIAL PYRAMID
1974 // 3,17’
Cinta en Súper 8 digitalizada en alta definición, color, muda.
Super-8mm film transferred to high-definition digital media, color, silent.
CREEK
1974 // 3,11’
Cinta en Súper 8 digitalizada en alta definición, color, muda.
Super-8mm film transferred to high-definition digital media, color, silent.
UNTITLED (MIRAGE)
1974 // 3,18’
Cinta en Súper 8 digitalizada en alta definición, color, muda.
Super-8mm film transferred to high-definition digital media, color, silent.
ENERGY CHANGE
1975 // 0,49’
Cinta de 16 mm digitalizada en alta definición, color, muda.
16mm film transferred to high-definition digital media, color, silent.
BUTTERFLY
1975 // 3,19’
Cinta en Súper 8 digitalizada en alta definición, color, muda.
Super-8mm film transferred to high-definition digital media, color, silent.
X-RAY
c. 1975 // 1,36’
Cinta en 16 mm digitalizada en alta definición, blanco y negro, sonora
16mm film transferred to high-definition digital media, black and white, sound
VOLCÁN
1979 // 3,11’
Cinta en Súper 8 digitalizada en alta definición, color, muda.
Super-8mm film transferred to high-definition digital media, color, silent.
PIONERAS LATINOAMERICANAS
WOMEN FILM PIONEERS
HOMENAJE • TRIBUTE
149
RAÚL CAMARGO
RAÚL CAMARGO
Marta Rodríguez also surprised and shook audiences with her great
opera prima, which promoted a filmography linked to ethnographical
cinema and denunciations of exploitation. Chircales (1966-1971)
is a social essay and documentary which managed to establish a
particular approach to making films in a country plagued by violence.
Such an approach simply means living with those you intend to portray
and becoming one with them, instead of creating distance and/or
taking cinematographic advantage of people who live under constant
subjugation. The idea is to develop a sense of community instead of
individualism.
folklórica venezolana
Admirable and surprising documentary that sparks intensive poetic feelings
E Francine Grubert
about an extraordinary Venezuelan poet: Armando Reverón (1889-1954).
Considered one of the most important artists of the 20th century in Latin
America, the film draws an eloquent picture of this memorable character.
The camera delves into the painter’s magic world revealing his creative DIRECTORA
process: the unique artist is presented surrounded by the curious rag dolls
he built and which serve as models for his paintings.
MARGOT BENACERRAF
(Venezuela, 1926)
1959 Araya
C Centro COINASA
fundacionmargotbenacerraf@gmail.com
HOMENAJES 152 [25] FICVALDIVIA
MARTA RODRIGUEZ
(Colombia, 1938)
JORGE SILVA
(Colombia, 1941-1987)
2011 Testigos de un etnocidio:
memorias de resistencia
2001 Nunca más
1982 Nuestra voz de tierra,
memoria y futuro
1975 Campesinos
1973 Planas: testimonio de un
etnocidio
C Marta Rodriguez
cinemestizo@gmail.com
[25] FICVALDIVIA TRIBUTES
153
1922 - 1970
ALBERT LAMORISSE
HOMENAJE • TRIBUTE
154
Han pasado más de 60 años y estas obras siguen vigentes. Cada vez
que las volvemos a ver, encontramos nuevos detalles y sutilezas poéticas.
Imágenes poderosas que, aun siendo ficticias, nos emocionan, nos invitan
a sumarnos a la magia, nos llevan y nos hacen creer y soñar.
155
More than 60 years have passed and these works are still valid. Every
time we see them again, we find new details and poetic subtleties. These
are powerful images that, even though fictitious, fill us with excitement
and childlike wonder.
HOMENAJES 156 [25] FICVALDIVIA
S Regine Artarit
In the beautiful landscapes of the Camargue, in the Rhone delta, south of
E Georges Alépée
France, a peasant child befriends a wild stallion horse. The ranchers try to
I Pascal Lamorisse, Alain Emery
capture him repeatedly in order to tame him, but the horse tries to escape
again and again until he succeeds. The child reencounters the horse by Laurent Roche, Clan-Clan
risking his own life as he enters the sea in search of a better world.
DIRECTOR
ALBERT LAMORISSE
(Francia, 1922-1970)
1978 The Lover’s Wind
1967 Paris jamais vu
1965 Circus Angel
[25] FICVALDIVIA 157 TRIBUTES
A child finds a red balloon hooked on a lamppost in Paris and establishes a Popov
friendly relationship with it. The balloon follows the child through the city
without being caught and its presence provokes scandals in the church
and in the school. The neighborhood boys seize the balloon, to the outrage DIRECTOR
of all the balloons in Paris. Colors of different shapes, sizes and textures
revolutionize a gray city.
ALBERT LAMORISSE
(Francia, 1922-1970)
1978 The Lover’s Wind
1967 Paris jamais vu
1965 Circus Angel
158
JAIME GRIJALBA
El más prolífico entre ellos es, sin duda, Chang Cheh, quien dirigió
95 filmes, muchos de ellos para la productora. Entre estos se cuenta
El espadachín manco (1967), película que estableció los elementos
clásicos que se volverían la materia prima del género desarrollado
en las futuras producciones de los Shaw. Se trata de filmes a medio
camino entre el wuxia y el kung fu: luchas de cuidada coreografía
que ganan fluidez gracias a movimientos de cámara y al montaje,
espadachines con poderes sobrehumanos, escuelas de artes marciales
con entrenamiento rudo y bandas sonoras estrafalarias, en este caso
usando jazz libre.
JAIME GRIJALBA
The most prolific among them was, without a doubt, Chang Cheh,
who directed 95 films, many of them for the Shaw Bros. Among these is
The One-Armed Swordsman (1967), a film that established the classic
elements that would become the raw material for the development of
the genre in future productions. These are films halfway between wuxia
and kung fu: carefully choreographed fights made fluid by camera
movement and editing, swordsmen with superhuman powers, martial
arts academies with arduous training, and bizarre soundtracks, in this
case incorporating free jazz.
But the film that truly internationalized the genre was Five Fingers of
Death (1972), by Korean director Jeong Chang-hwa. This film influenced,
and even today, continues to influence, filmmakers around the world. For
a taste of its ubiquity, just listen to the first few notes of the soundtrack.
It’s likely it will sound familiar, as it is an established part of our pop
culture canon.
Although the Shaw Bros. did not capitalize so much on faces or star
power –always preferring the acrobatic and choreographic aspects of
production– they unintentionally birthed the career of Jackie Chan.
With Snake in the Eagle’s Shadow (1978), by Yuen-woo Ping, instead of
becoming the next Bruce Lee as was Chan’s intention, the direction of
martial arts cinema and the actor’s own career were radically altered,
incorporating elements of comedy and slapstick.
For almost four decades, the Shaw Bros. set the standard for both the
artistic aspects and the distribution of martial arts films, creating sub-
genres and coproducing films even with the legendary British Hammer
Film Productions. Their influence was so great that they even provoked
the emergence of competing production companies, which eventually
forced them out of business. This is the tragedy of the greats.
[25] FICVALDIVIA TRIBUTES
161
DIRECTOR
CHANG CHEH
(China, 1923)
1978 Los cinco venenos
1974 Dos héroes
1967 El asesino
HOMENAJES 162 [25] FICVALDIVIA
F Wang Yung-lung
Five Fingers of Death predates Bruce Lee’s entrance into the western M Chen Yung-yu
cinema canon and marks the first great success in Hong Kong’s history of
E Chiang Hsing-lung, Fan Kung-
martial arts cinema. The film tells the story of the promising disciple Chi-
Hao, who is sent to a new master to learn the most advanced techniques in yung
kung-fu. Among these is the Iron Fist, which will allow him to defeat local
gangs who seek to control his people.
DIRECTOR
JEONG CHANG-HWA
F Chang Hui
Chien Fu (Jackie Chan) is a humble janitor at a kung-fu academy. A beggar,
E Poon Hung Yiu
who is actually a disgraced master, teaches him the secrets of the serpent’s
fist. Creating his own technique based on the movements of the cat, Fu M Chou Fu-liang
becomes a fighter to be reckoned with. Snake in the Eagle’s Shadow marks I Jackie Chan, Yuen Siu Tien,
a new direction for action cinema, bringing together comedy, martial arts,
Hwang Jang Lee
and impressive choreography. It was also Jackie Chan’s breakout film.
DIRECTOR
YUEN WOO-PING
(China, 1945)
1978 El maestro borracho
164
165
JAIME GRIJALBA
Pero esto nos indica, más que otra cosa, el enorme valor que
tiene la ópera prima de Ruiz a la hora de entender y leer el resto de
su filmografía: la preferencia por la adaptación literaria (en este caso
basándose en la obra de teatro de Alejandro Sieveking), la verborrea
de sus personajes, la inclinación por lo laberíntico (la forma en que
Lucho, interpretado por Luis Alarcón, logra ver todo Santiago a través de
botellas vacías que reflejan la luz) y la exploración profunda que realiza
acá del habla chilena, yendo más allá de la jerga y adentrándose en la
cadencia de las palabras.
JAIME GRIJALBA
In one of the many joints where Tito –a character in Tres Tristes Tigres,
played by Nelson Villagra– hangs around to digress and forget about his
daily duties, he meets a bespectacled elderly who demands that the TV
be turned off because it is “Chile’s ruin”. Curiously enough, from his first
feature film –shot 50 years ago– Raúl Ruiz was able to assert that our
country’s culture would follow the paths established by mainstream
media, which would soon prevail over the entire public discourse.
But more than anything, this reveals the enormous value of Ruiz’s
opera prima when trying to understand the rest of his filmography: the
preference for literary adaptation (in this case Alejandro Sieveking’s
theatrical piece), the loquacious nature of his characters, his passion for
maze-like performances (the way in which Lucho, played by Luis Alarcón,
manages to see all of Santiago through empty bottles that reflect light),
and the in-depth exploration of the Chilean dialect, going beyond jargon
and delving into the cadence of words.
Ruiz’s debut was based on a play by Alejandro Sieveking, following the S Jorge Di Lauro
various intrigues of a group of small-timers striving to carve out a living E Carlos Piaggio
in the seedy underworld of pre-Allende Santiago. This effort finds Ruiz
I Shenda Román, Nelson Villagra,
operating in a more realist mode than in the more widely seen, delirious
works to come. Tres tristes tigres was restored by the Association des Amis Luis Alarcón, Jaime Vadell,
de Raoul Ruiz with the support from the National Council of Culture and Arts Delfina Guzmán
of Chile.
DIRECTOR
RAÚL RUIZ
(Chile, 1941-2011)
2007 La recta provincia
1997 Genealogía de un crimen
1986 Dans un miroir
1978 La vocation suspendue
1973 Palomita blanca
1971 Nadie dijo nada
1963 La maleta
[25] FICVALDIVIA TRIBUTES
169
170
RAÚL CAMARGO
RAÚL CAMARGO
March 25, 1982, is a special date for Valdivia. Two shorts were
introduced to the public on that date, after being screened in Santiago:
Búsqueda en el lugar de la lluvia [Search in the place of rain] by Rubén
González and Historia de un suicidio [The history of a suicide] by Mario
Osses. From then on, Valdivian audiovisual creations have followed an
uneven but sustained course thanks to groundbreaking pieces made
during the Dictatorship by enthusiastic film lovers, most of whom
were part of a local scene with national reach, made up by great poets,
musicians and painters. Valdivia became a focus of cultural resistance
and its artists organized themselves, even summoning a First Forum of
Valdivian Artists, in 1989.
CHILE, 1982
13’ // DIGITAL
IO: Español / Spanish
S: No
MARIO OSSES
HISTORIA DE UN SUICIDIO
Interpretación libre del personaje Emilio Free interpretation of character Emilio
Dubois, mítico criminal recluido en la Dubois, a legendary criminal imprisoned
cárcel de Valparaíso. El cortometraje in Valparaiso. The short addresses
aborda los límites psicológicos del the psychological limitations of this
personaje, situándolo en una disyuntiva character, placing him in an existential
existencial en relación con su pareja, dilemma regarding his couple, an
cuyo vínculo frustrado lo lleva a unsuccessful relationship that leads
quitarse la vida. him to suicide.
D G Mario Osses
P Mario Osses, Francisco Jooris
F A E Francisco Jooris
M Jaime Barría
S Jaime Valenzuela Francisco Jooris, Mario Osses
I Mario Osses, Verónica Quency fotosjooris@gmail.com
mario.osses@gmail.com
CHILE, 1986
19’ // DIGITAL
IO: Español / Spanish
S: No
CHILE, 1989
7’ // DIGITAL
IO: Español / Spanish
S: No
LUSTRANDO CALLES
El desamparo del ser humano es Abandonment is something terrible for
terrible, sobre todo en la niñez. Un niño human beings, particularly for children.
lustrabotas que trabaja en la calle tiene A boy who works as a shoe-shiner in
la posibilidad de cumplir sus sueños, the streets has the chance of fulfilling
aunque el teatro de la vida esté vacío. his dreams, even if the theater of life is
empty.
D G F A Ricardo Espinoza
S E Jorge Zepeda Barrera
CHILE, 1998
10’ // DIGITAL
IO: Español / Spanish
S: No
CHILE, 1995-1996
4’ // DIGITAL
IO: Español / Spanish
S:No
Jorge Garrido
jorgegarrido@apata.cl
CHILE, 1999
18’ // DIGITAL
IO: Español / Spanish
S: No
CYNTHIA WHITE
SOBARZO PEGA FUERTE (Estados Unidos, 1974)
2014 Evolving Memory
Un muchacho de un pequeño pueblo A boy from a small town in southern 2011 Ship Spotters
del sur de Chile ignora todos los Chile ignores his odds and puts all his 2009 Bird Dog
inconvenientes para poner sus hopes and dreams into winning the 2005 Park Life
esperanzas y sueños en ganar el título National Boxing title.
en el Campeonato Nacional de Box.
D P E Cynthia White
F Hugo Muster
S Rodrigo Medina
Cynthia White
cynthianwhite@gmail.com
www.cynthia-white.com
HOMENAJES 176 [25] FICVALDIVIA
CHILE, 2002
4’ // DCP
IO: Español / Spanish
S: No
MARGARITA POSECK
LA VILLE SUR LA MER DU SUD (Chile,1957)
2015 Herencia
Poema visual sobre fragmentos Visual poem based on fragments of a 2013 Agua bendita
del poema original de Clemente poem by Clemente Riedemann. A song 2011 Tres mujeres lindas
Riedemann. Un canto a la ciudad de to the city of Valdivia. 2007 Mareas
Valdivia.
D G P F Margarita Poseck
E Luis Carrasco
Margarita Poseck
marposeck@gmail.com
www.poseckfilms.com
CHILE, 2003
25’ // DIGITAL
IO: Español / Spanish
S: No
DANIEL BENAVIDES
NO ME GANÉ EL FONDART Y FILOSOFÍA BARATA (Chile,1972)
Un joven valdiviano recorre la ciudad A young Valdivian man jogs and drives 2007 El asesino entre nosotros
around the city while thinking about an 1999 Historias de sexo
en su auto y trotando mientras su
conciencia fluye en torno a un amor impossible love and the grant fund he
imposible y un fondo no ganado. didn’t get.
D G P Daniel Benavides
F S E Andrés Egnem
I Daniel Benavides
Daniel Benavides
La Original
adixine@gmail.com
www.laoriginal.cl
[25] FICVALDIVIA 177 TRIBUTES
CHILE, 2002
18’ // DIGITAL
IO: Español / Spanish
S: No
CHILE, 2003
20’ // DCP
IO: Español / Spanish
S: English
CHILE, 2005
8’ // DIGITAL
IO: Español / Spanish
S: No
CHILE, 2006
7’ // DIGITAL
IO: Español / Spanish
S: No
ROBERTO DE LA PARRA
CULPA (Chile)
D Roberto de la Parra
P Ann Hunter
F German Ovando
I Daniela Banchieri, Alejandra
Saralegui
totodelaparra@gmail.com
[25] FICVALDIVIA 179 TRIBUTES
CHILE, 2007
20’ // DIGITAL
IO: Español / Spanish
S: No
ILÁN STEHBERG
LOBOS DE LA FERIA FLUVIAL (Chile, 1975)
2006 Knittel
Tres niños avanzan por la ciudad y Three children move through the city
el río como si fueran a encontrarse, and the river as if they were to meet,
pero llegan en tiempos diferentes a la but arrive at different times to the same
misma feria fluvial. Las acciones de los riverside market. The children carry out
niños son cotidianas, sin un significado everyday actions, without a specific
preciso. Es el paisaje de fondo el que meaning. The backdrop setting is what
mejor representa el estado interno de best represents their inner feelings.
los personajes.
CHILE, 2007
9’ // DCP
IO: Español / Spanish
S: No
MARGARITA POSECK
MAREAS EUGENIA POSECK
Cipriana sale de su hogar junto a su Cipriana leaves her house with her child (Chile,1957)
pequeño hijo para recolectar mariscos, to collect seafood, in a remote place in 2015 Herencia
en algún lejano lugar de las costas the coasts of southern Chile. The forces
2013 Agua bendita
del sur de Chile. Las fuerzas de la of nature, as opposed to the frailty of
naturaleza, en oposición a la fragilidad human beings, are the central theme of 2011 Tres mujeres lindas
del ser humano, constituyen el eje this touching story. 2007 Mareas
narrativo de esta conmovedora historia.
CHILE, 2006
16’ // DIGITAL
IO: Español / Spanish
S: No
CHILE, 2007
10’ // DCP
IO: Español / Spanish
S: No
GALA
Las películas más recientes de los grandes maestros del cine mundial. Esta muestra
reúne a los cineastas de mayor prestigio del circuito de festivales para ofrecerlos en ex-
clusiva en Valdivia.
GALA
The most recent films from the great masters of world cinema. This show gathers the
most prestigious filmmakers of the festival circuit to be seen exclusively in Valdivia.
GALA 184 [25] FICVALDIVIA
HONG SANGSOO
In the late 70s, a military-controlled militia gang terrorizes a remote village Magdayao, Pinky Amador,
in the Philippines. The terror inflicted on citizens is not just corporal, but Bituin Escalante, Hazel
intensely psychological as well. A few souls fight, refusing to give up;
Orencio
among them a poet, teacher and activist who desperately searches for
the truth about his wife’s disappearance. In this rock opera, the narrative
and characters are a composite of real events and people from the period. DIRECTOR
It’s a love story set in the darkest period of Philippine history, the Marcos
Dictatorship.
LAV DÍAZ
(Filipinas, 1958)
2016 A Lullaby to the Sorrowful
Mystery
2014 From What is Before
2007 Death in the Land of
Encantos
2004 Evolution of a Filipino Family
C FILMS BOUTIQUE
1999 Naked Under the Moon
contact@filmsboutique.com
www.filmsboutique.com
GALA 186 [25] FICVALDIVIA
JEAN-LUC GODARD
(Francia, 1930)
2014 Adieu au langage
1993 Les enfants jouent à la Russie
1988 Histoire(s) du cinema
1972 Tout va bien
1963 Le mepris
1961 Unne femme est unne femme
1960 À bout de souffle
Casper Liang
DIRECTOR
JIA ZHANG-KE
(China, 1970)
2015 Mountains May Depart
2013 A Touch of Sin
2006 Still Life
2002 Unknown Pleasures
1998 Xiao Wu
C mK2 Films
Léa Cunat
lea.cunat@mk2.com
GALA 188 [25] FICVALDIVIA
HONG SANGSOO
C FINECUT
cineinfo@finecut.co.kr
www.finecut.co.kr
[25] FICVALDIVIA 189 GALA
Defense
DIRECTOR
ROBERTO MINERVINI
(Italia, 1970)
2015 The Other Side
C THE MATCH FACTORY GmbH 2012 Low Tide
2015 Come to Daddy
info@matchfactory.de
190
191
NUEVOS CAMINOS
Los films de vanguardia, las películas experimentales que se arriesgan y exploran las
nuevas posibilidades del cine, dialogando con el pasado y proyectando el futuro de esta
disciplina artística.
NEW PATHWAYS
Avant-garde films, experimental flicks that take risks and explore new possibilities in
cinema, dialoguing with the past and projecting the future of this artistic discipline.
NUEVOS CAMINOS 192 [25] FICVALDIVIA
En 1933, a los 33 años y cuando era uno de los críticos de cine más respetados
D Stephen Broomer
del mundo, Harry Alan Potamkin murió de complicaciones relacionadas con
S Stuart Broomer
la inanición. En sus textos, abogó por un cine que abordara al mismo tiempo
los quiebres y la polifonía de la vida moderna y una visión de igualdad social
atribuida a la izquierda radical. Esta película-biografía es una composición de
fragmentos distorsionados de películas que fueron criticadas por Potamkin;
una impresión del despertar de la conciencia.
In 1933, at age 33, Harry Alan Potamkin died of complications related to
starvation, at a time when he was one of the world’s most respected film
critics. In his writings, he advocated for a cinema that would simultaneously
embrace the fractures and polyphony of modern life and the equitable
social vision of left radical politics. This film-biography is assembled out
of distorted fragments of films on which he had written; an impression of
DIRECTOR
erupting consciousness.
STEPHEN BROOMER
(Canadá, 1984)
2018 Fountains of Paris
2006 Mills
2015 Wild Currents
2010 Manor Roads
C Stephen Broomer
https://www.stephenbroomer.com/
[25] FICVALDIVIA 193 NEW PATHWAYS
C Jodie Mack
jodienmack@gmail.com
www.jodiemack.com
NUEVOS CAMINOS 194 [25] FICVALDIVIA
WALTER FORSBERG
CELLULAR IMMUNE RESPONSE (Canadá, 1985)
2014 Technicolor N.G.
Cuando Donald Trump asumió el poder On Inauguration Day 2017, the filmmaker 2012 Tell Her What I Said
en 2017, el director pasó el día en una spent all day in a Washington, DC, used 2011 Fahrenheit 7-Eleven
tienda de libros usados de Washington, bookstore, where he bought a stack of
DC, donde compró un lote de cintas con audiotape secret telephone recordings
grabaciones secretas de infidelidades of marital infidelity from 1969. At the
matrimoniales de 1969. En la Marcha Women’s March, he recognized the
de las Mujeres al otro día, percibió la cosmic resonance of the phone with all
resonancia cósmica entre el teléfono y that was happening.
lo que estaba sucediendo.
D, P, F, E Walter Forsberg
walterforsberg@gmail.com
TAILANDIA, 2018
29’ // DCP
IO: Tailandés, Inglés /
Thai, English
S: Español / English
D, F, E Lina Rodríguez
P Brad Deane
S Camilo Martínez
Brad Deane
info@rayonvert.ca
APICHATPONG
PREMIERE LATINOAMERICANA • LATIN AMERICAN PREMIERE
WEERASETHAKUL
(Tailandia, 1970)
BLUE 2015 Cemetery of Splendour
2012 Mekong Hotel
Una mujer se desvela. En las cercanías, A woman is awake at night. Nearby,
2004 Tropical Malady
se encuentra un conjunto de escenarios theater sets reveal two alternative
teatrales que revelan dos paisajes landscapes. On the woman’s blue
alternativos. En la tela azul de la mujer, fabric, a glimmer of light reflects and
un rayo de luz refleja e ilumina su reino illuminates her kingdom of insomnia.
de insomnio.
D E Apichatpong Weerasethakul
F Chatchai Suban
S Akritchalerm Kalayanamitr Dimitri Krassoulia
I Jenjira Pongpas Widner dimitri.krassoulia@pelleas.fr
NUEVOS CAMINOS 196 [25] FICVALDIVIA
JODIE MACK
PREMIERE LATINOAMERICANA • LATIN AMERICAN PREMIERE
(Reino Unido, 1983)
2018 The Grand Bizarre
HOARDERS WITHOUT BORDERS 1.0 2012 Persian Pickles
2011 The Future is Bright
Presentando marcadores mágicos Featuring crystallized magic markers
2010 Dinotropel
cristalizados y el cálculo renal de un and the kidney stone of a horse, the
caballo, la colección de minerales de generously-curated mineral collection
Mary Johnson –objeto de una generosa of Mary Johnson comes to life in a
curaduría– cobra vida gracias a una manual labor of love for the process of
amorosa dedicación manual hacia el archival procedure.
proceso del procedimiento de archivo.
D F E Jodie Mack
jodienmack@gmail.com
www.jodiemack.com
[25] FICVALDIVIA 197 NEW PATHWAYS
ESPAÑA, 2018
13’ // DIGITAL
IO: Español / Spanish
S: No
D G P E Natalia Marín
Natalia Marín
nataliamansacho@gmail.com
www.nataliamarin.es
COREY HUGHES
PREMIERE LATINOAMERICANA • LATIN AMERICAN PREMIERE
(Estados Unidos, 1992)
2017 200 Nam Nam
MY EXPANDED VIEW 2017 Caesars Palace
2017 Armageddon 2
Un tutorial de yoga en YouTube. Un A YouTube Yoga tutorial. A collapsed 2016 Ouchiemongo
cuerpo colapsado. Una vista ampliada. body. An expanded view.
Kevin Jerome Everson; Trilobite-Arts DAC; Picture Palace Pictures Sandy Williams III
PREMIERE LATINOAMERICANA • LATIN AMERICAN PREMIERE KEVIN JEROME EVERSON
(Estados Unidos, 1965)
POLLY ONE 2018 Goddes
Polly One was filmed above the skies 2017 Tonsler Park
Polly One fue filmada en los cielos de
2009 Company Line
Saluda, Carolina del Norte, el 21 de in Saluda, North Carolina on August 21,
agosto de 2017, durante un eclipse 2017, during the 2017 eclipse. Part of an
solar. Forma parte de una serie de films ongoing series of films documenting the
que documentan los eclipses: Polly Two eclipse, including the black and white
(2018), en blanco y negro, y una película Polly Two (2018) and an untitled film to
aún sin nombre que será filmada en be shot in Chile during the solar eclipse
Chile durante el eclipse solar del verano in summer 2019.
de 2019.
Kevin Jerome Everson; Trilobite-Arts DAC; Picture Palace Pictures Sandy Williams III
PREMIERE LATINOAMERICANA • LATIN AMERICAN PREMIERE KEVIN JEROME EVERSON
(Estados Unidos, 1965)
POLLY TWO 2018 Goddes
Polly Two was filmed above the skies 2017 Tonsler Park
Polly Two fue filmada en los cielos de
2009 Company Line
Saluda, Carolina del Norte, el 21 de in Saluda, North Carolina on August 21,
agosto de 2017, durante un eclipse 2017, during the 2017 eclipse. Part of
solar. Forma parte de una serie de films an ongoing series of films documenting
que documentan los eclipses: Polly One the eclipse, including the color film Polly
(2018), en colores, y una película aún One (2018) and an untitled film to be
sin nombre que será filmada en Chile shot in Chile during the solar eclipse in
durante el eclipse solar del verano de summer 2019.
2019.
ESPAÑA, 2018
4’ // DCP
IO: Sin diálogos / No
dialogue
D Carmen Main
www.carmenmain.com
info@carmenmain.com
BEN RIVERS
PREMIERE LATINOAMERICANA • PREMIERE LATINOAMERICANA
(Reino Unido, 1972)
2018 The Rare Event
TREES DOWN HERE 2016 The Hunchback
Trees are the silent characters, narrating 2014 Things
Los árboles son los protagonistas
2008 This Is My Land
silenciosos a cargo de la narración the architecture and life in Cowan Court,
sobre la arquitectura y la vida de Churchill College, through its natural
Cowan Court, residencia estudiantil history. The analogue materiality of
del Churchill College. La materialidad Churchill College is matched by the
análoga de la universidad coincide con film which, like the architecture and
la película, que tal como sucede con la landscape, leaves traces of its own
arquitectura y el paisaje, deja rastros development.
de su propio desarrollo.
D Ben Rivers
LUX Distribution
P F Ben Russell distribution@lux.org.uk
NUEVOS CAMINOS 200 [25] FICVALDIVIA
D G F E Óscar Vincentelli
C Carlos Pardo, Óscar Vincentelli
M Joe Crepúsculo
I Violeta Orgaz, Guillermo Benet Carlos Pardo Ros
dvein films | www.dveinfilms.com
carlos@dvein.com
El corto aplica los seis principios de la This film applies the six principles for (España, 1981)
composición definidos en el “Discurso composition delineated in ‘Opinions 2916 025 Sunset Red
sobre la pintura del monje Zapallo on Painting by the Monk of the Green 2013 Either/Or
amargo”, del pintor chino del siglo XVIII Pumpkin’, by the eighteenth-century 2010 Cry When it Happens
Shih-T’ao, según cita de Raúl Ruiz en Chinese painter Shih-T’ao, as referenced
“Por un cine chamánico” (“llamar la in Raúl Ruíz’s essay ‘For a Shamanic
atención sobre una escena que surge Cinema’ (‘draw attention to a scene
de un fondo estable” o “agregar aquí y emerging from a static background’ or
allá un poco de movimiento en el seno ‘add scattered dynamism to immobility’).
de la inmovilidad”).
D Laida Lertxundi
LUX Distribution
distribution@lux.org.uk
[25] FICVALDIVIA 201 NEW PATHWAYS
CHILE, 2018
10’ // DCP
IO: Sin diálogos / No
dialogue
DISIDENCIAS
Las miradas contingentes sobre los procesos políticos, económicos, sociales, religiosos
y ambientales que permiten generar un debate y reflexión sobre el mundo que estamos
construyendo.
DISSIDENTS
The contingent views on the political, economic, social, religious and environmental pro-
cesses that allow us to generate a debate and reflect on the world we are building.
DISIDENCIAS 204 [25] FICVALDIVIA
During the state of emergency in the province of Islay, two men safeguard a S SonidoDirecto
hard drive with unpublished material about a socio-environmental conflict I Daniel Toranzo, Fredy Vicario,
in the region, burying it in the radio station´s backyard in fear of it being
Juan Cristóbal Suarez, Beatriz
confiscated by the police. Months later, the 200 gigabyte hard drive -which
allows for the reconstruction of certain stages of the conflict-, will be López, Diego Benavente, Jorge
delivered in order to be edited in a collaborative documentary process. Ingaruca, Julio Gonzáles
DIRECTOR
RENZO ALVA
(Perú, 1987)
2014 Cronología del olivido
2013 Unísono
2013 Poliformismo
Christian, Ben and Jean-Marie are fighting for political change and free E Hélène Ballis
elections in their country, the Democratic Republic of the Congo. But the
incumbent president refuses to relinquish power. How can the course
DIRECTOR
of events be changed? Must they join forces with other politicians or risk
a blood bath? Kinshasa Makambo narrates the struggle of these three
activists; a fight that can’t be stopped neither with bullets, prison nor exile.
Dieudo Hamadi
A film born from a journey of discovery by the director, based on the DIRECTOR
countless recordings of his grandfather, Alfredo Ovando Candia, registered
during his de facto military government in Bolivia in the 1960s. The family
version differs from the official story on many fronts, among them the
massacre of miners, the nationalization of oil and the murder of Che
Guevara. Throughout the search, memory becomes selective, blocked and
diffused. Sometimes, a surname can carry too much weight.
(Bolivia, 1986)
2018 Algo quema (ópera prima)
C NICOBIS CINE
nicobiscine@gmail.com
[25] FICVALDIVIA 207 DISSIDENTS
JOHANNES GIERLINGER
(Austria, 1985)
2017 Die Ordnung der Träume
2015 A Subsequent Fulfilment of a
Pre-Historic Wish
2014 The Fortune You Seek Is in
Another Cookie
C Johannes Gierlinger
mail@johannesgierlinger.com
DISIDENCIAS 208 [25] FICVALDIVIA
MATHIJS POPPE
(1990, Bélgica)
2017 Ours is a Country of Words
(ópera prima)
C Elisa Heene
elisa.heene@gmail.com
[25] FICVALDIVIA 209 DISSIDENTS
Schulz
DIRECTORES
MARTIN DICICCO
(Estados Unidos,1987)
2017 All That Passes By Through a
Window That Doesn’t Open
NOCTURAMA
Lo gracioso, lo bizarro y lo extremo se unen en esta muestra de películas para celebrar en
el presente los que serán los clásicos de culto del futuro.
NOCTURAMA
The humorous, the bizarre and the extreme come together in this show to celebrate the
cult classics of the future, in the present.
[25] FICVALDIVIA 213 NOCTURAMA
SHINICHIRO UEDA
(Japón, 1984)
2015 Take 8
2015 Neko Manma
2014 Girlfriend’s Confession
Ranking
2011 Dreaming Novelist
DIRECTOR
JOEL POTRYKUS
C Sydney Tanigawa
Sydney@oscilloscope.net
626-808-8235
[25] FICVALDIVIA DISSIDENTS
215
PRIMERAS NACIONES
FICValdivia presenta películas realizadas por cineastas de pueblos originarios de todo
el mundo, permitiendo un encuentro multicultural y facilitando un espacio de reflexión
sobre nuestra condición plurinacional.
FIRST NATIONS
FICValdivia presents films made by filmmakers from native peoples around the world,
allowing for a multicultural gathering and facilitating a space for reflection on our plu-
rinational condition.
PRIMERAS NACIONES 216 [25] FICVALDIVIA
(Perú, 1959)
2013 Inkarri (opera prima)
cuales se unen para proteger un territorio ancestral e impedir la extracción D G P Angelo Baca
de recursos naturales, transformándolo en Monumento Nacional. Se trata de
F S Angelo Baca, Teresa
la propuesta de proteger alrededor de 7600 km2 de tierras vírgenes en Utah,
designadas por el Gobierno para su gestión conjunta con las tribus: un hecho Montoya, Shonie De La Rosa
ANGELO BACA
C Angelo Baca
25 Waverly Place, New York, NY +1 505 860-2670
10003 ab6088@nyu.edu
https://shashjaa.wordpress.com
PRIMERAS NACIONES 218 [25] FICVALDIVIA
C CUCHO RAMÍREZ
cucho@inquietadoc.com
[25] FICVALDIVIA 219 FIRST NATIONS
Renerio
La 12° Muestra Cine+Video Indígena, en su alianza colaborativa con la
sección Primeras Naciones de FICValdivia, contribuye este año con tres DIRECTOR
largometrajes de territorios en Perú, México y Groenlandia. Esta Muestra
es organizada por el Museo Chileno Precolombino, que este año realiza una
exhibición itinerante con 44 producciones audiovisuales en 30 puntos desde
Arica a Puerto Williams.
Nieder
The Kalaallit people of Greenland have been intimately connected to eternal
ice for millennia. These massive glaciers stand as records of ancient eras DIRECTOR
of the planet, but recently they began to disappear. As the foundation of
their traditions literally melts beneath their feet, members of the Kalaallit
community work with artists to capture the images and stories of a vanishing
landscape and way of life.
C Yatri N. Niehaus
yatriniehaus@reflektorfilm.de
http://stella-polaris.org/film/
[25] FICVALDIVIA 221 FIRST NATIONS
S M Patricio Chico
Chilean society neglects its ethnic and cultural diversity. Historically, the
relationship with the Mapuche people has been defined by institutional DIRECTOR
violence, directly affecting those involved as well as generations to come.
Different stakeholders recount the context of these societal injustices, and
discuss potential ways of overcoming them. In the background, the case of
a young man disappeared during Pinochet’s dictatorship, university student
Nelson Curiñir Lincoqueo.
GUIDO BREVIS
(Chile, 1964)
2015 Mapu Mew, en la Tierra
2009 Anicento, razón de Estado
2007 Territorio de fronteras
C Guido Brevis
guido.brevis@gmail.com
www.contrasangredocumental.cl
222
223
CHILE, 2018
2’ // DIGITAL
IO: Español / Spanish
S: English
CHILE, 2018
15’ // DCP
IO: Español / Spanish
S: English
D Tomás Arcos
G P Tomas Arcos, Carlos Tampe
I Isabel Prochelle, Carlos Tampe Tomás Arcos
tgarcos@gmail.com
[25] FICVALDIVIA 225 AUSTRAL CINEMA SHOWCASE
CHILE, 2018
13’ // DCP
IO: Español / Spanish
S: No
CHILE, 2018
15’ // DIGITAL
IO: Español / Spanish
S: No
PATRICIO BLANCHE
VER DE LEJOS
Mario lives away from the city with his (Chile, 1990)
Mario vive alejado de la ciudad en
2017 Giselle
compañía de su tío. En una cotidianeidad uncle. He lives a rural life, boring and
rural, aburrida y monótona, Mario caza monotonous. Mario hunts hares and
liebres y escucha música solo. Una listens to music in solitude. One night, he
noche, le comenta a su tío sobre la tells his uncle about the sale of a Smart
venta de un Smart TV en la ciudad más TV in the nearest city, Puerto Aysen. The
cercana, Puerto Aysén. La visita de un visit of a neighbor presents the ideal
vecino será el momento ideal para ir a moment to go and pick up the TV set. The
buscar el televisor. El viaje acortará la trip will bring uncle and nephew closer;
distancia entre tío y sobrino, quienes both put aside their own wishes to find a
dejarán de lado sus propios deseos space of intimacy.
para encontrar un espacio de intimidad.
ARGENTINA, 2015
5’ // DIGITAL
IO: Español / Spanish
S: English
JULIAN CORTIZO
AMOR A PRIMER DELIRIO (Argentina, 1993)
Un joven se encuentra sentado leyendo A young man sits reading in a park; at 2017 Reflejo
en un parque; a su lado se sienta his side sits a beautiful girl who he falls 2016 Smart People
una bella chica de quien se enamora in love with at first sight. The young man 2014 Colores
a primera vista. El joven comenzará begins to imagine the several possible
a imaginar un montón de posibles outcomes of an approach, each in a
resultados si se acercara a hablarle, different genre of film.
cada uno en el género de una película
diferente.
D G P F M E Julián Cortizo
A Micaela Krizan
Nailuj Producciónes
S Alan Mattía
nailuj.cortizo@gmail.com
I Emanuel Biaggini, Lucía Cortizo,
Mariano Falcon
BRASIL, 2017
9’ // DCP
IO: Portugués / Portuguese
S: Español / English
PEDRO BUSON
CENSURADO
In 1971, during the military dictatorship, (Brasil, 1994)
En 1971, en plena dictadura militar, la
2017 Censurado (ópera prima)
censura está en su punto máximo. Un censorship is at its peak. In a
día cualquiera de trabajo monótono, monotonous day of work, Roberto and
Roberto y Pepe tienen que clasificar la Pepe have the difficult task of rating the
película “Nacional”. film “National”.
CHILE, 2017
1’ // DIGITAL
IO: Español / Spanish
S: English
MATÍAS AROCA
DEPENDE DE MÍ
(Chile, 1998)
Corto que cuenta la vida de una madre Short about the life of a teenage mother 2017 No más violencia
adolescente que lucha por contra los who struggles against the social stigma 2016 Bloody vlog
estigmas sociales de ser madre soltera. of being a single mother. 2016 Alice
2016 La cara de la hipocresía
MIGUEL J. SOLIMAN
DESDE EL PRINCIPIO
In the darkness of a soundproof (Estados Unidos, 1993)
En la oscuridad de un estudio de
grabación, se inicia una conversación recording studio, a conversation sparks
2016 Knife Fight
entre dos actores doblajistas que lidian between two voice actors dealing with a 2016 Cuba Series
con una tragedia compartida. shared tragedy. 2015 Bypass
VENEZUELA, 2017
8’ // DIGITAL
IO: Español / Spanish
S: English
M. PIERINA ESPINOZA
DE VUELTA (Venezuela, 1996)
Jorge llega de visita a la casa de su madre, Jorge visits his mother’s house, the place 2018 Demonios
el lugar donde vivió sus mejores años. where he lived out his best years. Upon 2016 Tinta permanente
Al entrar en su cuarto y ver que todos entering his room and seeing that all
los objetos y juguetes están intactos, objects and toys are intact, he is invaded
es invadido por la nostalgia. Jorge se by nostalgia. Jorge hugs his mother and
despide de su madre con un fuerte abrazo returns alone to the room, remaining there,
y se queda solo en la habitación, revisando reviewing each object. After a moment,
cada objeto. Después de un rato en el que when time seems to have stopped, he goes
el tiempo parece haberse detenido, se va a to sleep; then the magic of his childhood
dormir; y entonces despierta la magia de la room awakens.
habitación de su infancia.
PERÚ, 2018
8’ // DIGITAL
IO: Español / Spanish
S: No
COLOMBIA, 2016
11’ // DIGITAL
IO: Español / Spanish
S: English
CAMILA GUERRERO
HISTORIAS DE ELLA, DE TI Y DE MÍ ARANGO
Documental que retrata la vida de This documentary portrays the life of (Colombia, 1996)
Doris Arango Niño, una mujer paisa Doris Arango Niño, a Paisa woman who, 2014 Esto no es un café
que, según la opinión generalizada, no according to the general opinion, should
debió tener una hija. Pero su hija, la not have a daughter. But her daughter,
realizadora de esta película, decidió the director of this film, decided to take
tomar la relación con su madre como her relationship with her mother as an
ejemplo y es el material no solo del example, and it is the theme not only of
documental sino también de una the documentary, but also of a catharsis.
catarsis.
URUGUAY, 2017
10’ // DIGITAL
IO: Español / Spanish
S: English
ECUADOR, 2015
8’ // DIGITAL
IO: Sin diálogos / No
dialogue
HAMILTON MONAR
NIÑO CANÍBAL (Ecuador, 1992)
Cortometraje en contra de la guerra, Short to raise awareness against
con un mensaje esperanzador y de war, with a message of hope and life 2018 Tras la huella de
conservación de la vida. preservation. Floresmilo Soxo
2014 Brodo el renal
2014 La soga del muerto
2013 Senderito de amor
D G A E Hamilton Monar I Escuela de Cine UDLA
2012 Rat Vicious
P Diego Darquea
F Luis Bohorquez hamilton_monar@hotmail.com
M La la
S Jimson Pucha
[25] FICVALDIVIA SPECIAL FACIUNI SCREENING
233
234
DIRECTOR
LUCAS QUINTANA
(Chile,1995)
2018 A Love Story
2016 Hemosestadopeor
C Quinto Medio Cristina Garza
garza.cristina@gmail.com
236
RETROSPECTIVE PROGRAM
237
LA LECCIÓN DE CINE
Clase magistral sobre el cine expresada en una película, en una obra maestra que ya es
parte de la historia de la disciplina y que se exhibe en el Festival en celuloide y a modo
de retrospectiva.
LADRÓN DE BICICLETAS
En Italia en ruinas luego de la 2ª Guerra Mundial, miles de personas
buscan trabajo. A un padre de familia le ofrecen pegar carteles
de Hollywood con la única condición de tener bicicleta. Esta
oportunidad se verá frustrada cuando, en el primer día, le roban su
vehículo. Su pequeño hijo lo ayuda a encontrar al ladrón. Utilizando
locaciones reales y actores no profesionales, este emotivo film se
transformará en un hito clave del movimiento que cambiará para
siempre la historia del cine: el Neorrealismo italiano.
EL SÉPTIMO SELLO
Corren los oscuros días de la Edad Media y Europa es consumida
por la peste negra. Tras una década de infructuosa lucha en las
Cruzadas, un caballero sueco viaja de regreso a su patria. Sin
embargo, en su travesía se cruza con la Muerte que desea cobrar
su vida. Para retrasar su inevitable destino, le propone jugar una
partida de ajedrez con la esperanza de dar algún sentido a su vida.
Pieza clave de la cinematografía de Bergman y obra esencial del cine
mundial.
VIDAS SECAS
Fabiano, Vitória, sus hijos y su perro caminan bajo un sol abrazador
buscando en el horizonte alguna hacienda donde establecerse. Su
precaria condición será aprovechada por el terrateniente que los
acoge y Fabiano deberá elegir entre la explotación o seguir vagando
con su familia, sin comida y sin saber si podrán encontrar un lugar
mejor. Pocas veces la injusticia fue tratada de una manera tan
directa como en esta película que se convirtió en un hito clave de un
movimiento que pondrá en su centro la necesidad de cambio social:
el Cinema Novo Brasileño.
Fabiano, Vitoria, their children and dog walk under the scorching
sun in search for a hacienda to settle. The landlord who admits
them takes advantage of their precariousness and Fabiano must
choose between being exploited or continue wandering with his
family, without food and ignoring whether they’ll be able to find
a better place. Few times was injustice portrayed so crudely as in
this movie which became a key milestone of a movement focused
on social change: Brazil’s Cinema Novo.
BRASIL, 1963 D Nelson Pereira dos Santos E Rafael Justo Valverde, Nello
99’ // 16MM G Nelson Pereira dos Santos, Melli
IO: Portugués / Portuguese Gracialiano Ramos S Geraldo José
P Luiz Carlos Barreto, Herbert M Leonardo Alencar
S: Español
Richers, Danilo Trelles I Atila Torio, Maria Ribeiro,
F Luiz Carlos Barreto, José Orlando Macedo, Joffre
Rosa Soares
LA LECCIÓN DE CINE [25] FICVALDIVIA
240
CLÁSICOS
Revisión retrospectiva y en celuloide de las películas clásicas de los géneros más po-
pulares. Este año, exhibimos una comedia, un film de cine negro-policial y un musical
latinoamericano.
CLASSICS
Retrospective and celluloid review of the classic films in the most popular genres. This
year, we present a comedy, a crime-film noir, and a Latin American musical.
[25] FICVALDIVIA 241 CLASSICS
AYÚDAME A VIVIR
Luisa es una joven que estudia en un internado de monjas. A través
de las rejas y por medio de la música, conoce a un joven de quien se
enamora. Sin embargo, su hermano decide interponerse entre ambos
y la retira del colegio para llevarla al campo. Una grave enfermedad
será un nuevo obstáculo a este amor. Película ideada y escrita por la
propia Lamarque, es considerada la obra que la catapultó como la
reina de América.
Stan and Ollie travel to a small town in the West to deliver a gold
mine deed to the daughter of a former partner. The town’s crooked
saloon owner and his equally wicked wife trick them and get a hold
of the documents. The next step is to recover and hand them to
their legitimate owner.
A classic comedy by giants Stan Laurel and Oliver Hardy which
includes a couple of key moments in the history of film.
HISTORIA DE UN POLICÍA
Pieza final de la obra de Jean Pierre Melville, especialista en Cine
Negro. Con las actuaciones protagónicas de Alain Delon, Catherine
Deneuve y Richard Crenna, Historia de un Policía reúne y simplifica
el método narrativo y estilístico del director. Con un asalto a una
millonaria como punto de partida, el líder de la banda se enfrenta a
su amigo, el policía, interpretado esta vez por Delon. El triángulo lo
completa una joven Catherine Deneuve, relacionada con el gánster y
también con el policía.
The last film directed by Jean Pierre Melville, a master of film noir.
Starring Alain Delon, Catherine Deneuve and Richard Crenna, Un
Flic gathers and simplifies the director’s narrative method and
style. The film’s starting point is an assault to a millionaire, where
the leader of the gang faces his friend, a policeman now played by
Delon. The triangle is completed by a young Catherine Deneuve who
is connected both to the gangster and the policeman.
BAZOFI –también conocido como el evento cinéfilo del milenio– fue creado en
Buenos Aires por Fabio Manes y yo, en 2012, para exhibir de manera sistemática las
mayores rarezas de la Filmoteca Buenos Aires. Esta colección también la fundamos
ambos, junto a otros amigos coleccionistas, y hoy reúne más de 7200 largometrajes en
diversos formatos fílmicos.
BAZOFI no rinde particular culto a lo bizarro sino más bien a la certeza de que hay
mucho más cine interesante del que quieren imponer los críticos, los redactores de
listas y la teoría del autor. BAZOFI está libre de la tiranía de los dogmas y las modas
de camarillas y alcahuetes. La mayoría de los cineastas y productores que integra su
programación ha muerto hace tiempo (o está ad portas) por lo que, también, está libre de
veleidades, presiones, lobbies y hasta de derechos de exhibición.
BAZOFI ama las copias en fílmico y aunque procura exhibirlas en el mejor estado
posible, no las desprecia porque hayan perdido su lozanía. No hay que tirar a los viejos
por la ventana. BAZOFI ama también, desde luego, al público que sabe apreciarlas.
BAZOFI fue prohibido dos veces, una a fines de 2012 y otra a fines de 2017; en ambos
casos, por personas sin humor y temerosas del ridículo. Sin embargo, siempre logró
encontrar sedes más tolerantes y felices.
BAZOFI cruza por primera vez las fronteras argentinas para ser parte de este
festival, que lo ha recibido con los brazos abiertos. Gratitud eterna a sus responsables.
BAZOFI –also known as the cinema buff event of the Millennial– was launched in
2012, in Buenos Aires, by Fabio Manes and me, to screen the top oddities of Filmoteca
Buenos Aires. This collection was also created by us, along with other collector friends,
and now includes more than 7200 feature films in different formats.
BAZOFI is not particularly keen on the bizarre but is rather based on the certainty
that there are much more interesting films than what is imposed on us by critics, list
writers and the author’s theory. BAZOFI’s free from the tyranny of dogmas and from
what’s fashionable according to entourages and gossipers. Since most filmmakers and
producers on the program are long dead (or getting there), it is also free from personal
whims, pressures, lobbies and even screening fees.
BAZOFI loves film stock and while it aims at screening them in the best condition
possible, it doesn’t disregard them because they’ve lost their freshness. There’s no need
to throw old codgers down the drain. Of course, BAZOFI also loves the public who can
appreciate them.
BAZOFI was banned twice; once at the end of 2012 and then in 2017. In both cases,
the ban came from sour people who feared playing the fool. Notwithstanding, it always
managed to find more tolerable and happier seats.
For the first time, BAZOFI crosses the Argentinean border to be part of a festival that
has welcomed it with open arms. We remain forever grateful to those in charge.
[25] FICVALDIVIA 245 TOTALLY WILD
ESTADOS UNIDOS, 1936 D Roland Price, Harry Revier I Marie DeForrest, William
55’ // 16MM G Roland Price, Zelma Carroll Marcos, Victor Justi, Josef
IO: Inglés / English P Harry Revier Swickard
F Roland Price
S: Español
M Lee Zahler
AMOK
Se llama amok a una especie de locura criminal que en este film
asume la forma del amour fou y desintegra a sus protagonistas en
una trama debidamente retorcida y feroz. Si los buenos melodramas
se definen por el exceso, pocos se han atrevido a ir tan lejos como
Amok, lo que en el contexto del cine mexicano es decir muchísimo.
Hay incluso un anticipo de Vértigo, posiblemente agregado por el
escritor surrealista Max Aub, que metió mano en el guión. Se basa
en una novela de Stefan Zweig, un autor que sabía de pasiones
autodestructivas.
The first part of this film consists of a few interviews outlining the
topic at hand: the religious practice of a Pentecostal congregation
in a place called Scrabble Creek, Virginia. The second part uses
cinéma verité to capture one of the congregation’s services,
which in this particular case takes place over several hours and
culminates in an extreme expression of faith: the handling of
poisonous snakes. Margaret Mead considered it one of the best
anthropological films ever made.
PANDEMONIUM
La historia se propone como una derivación de la famosa saga de los
47 Ronin, el grupo de guerreros que pasó años en la clandestinidad
hasta vengar a su amo. Pandemonium imagina un ronin número
48 cuya responsabilidad con el resto del grupo queda seriamente
comprometida por una geisha sin escrúpulos. El director Matsumoto
hizo muy pocos largometrajes y se dedicó más bien a la plástica y
a la producción experimental. Esta obra nocturna y pesadillesca es
una de las más audaces películas de samuráis jamás filmadas pero,
paradójicamente, también una de las menos vistas.
EL RASTRO
Uno de los films policiales más extraños de la historia del cine. En
primer lugar por su tema, que no conviene revelar sino descubrir,
y luego por su estructura. Comienza con una muerte terrible para
luego desarrollar un relato doble: el de un detective comprometido
con resolver el crimen y, en forma de flashback paralelo, las últimas
horas de la víctima. La píxide del título es el receptáculo en el cual
los sacerdotes católicos llevan la hostia consagrada. Pese a hacer
varias películas interesantes, el director está totalmente olvidado:
quizá por haber sido canadiense.
LA ENTREGA
El título original dice que hay ojos detrás de las paredes. Son los del
impagable Fernando Rey, quien interpreta a un novelista inválido
cuya principal inspiración consiste en espiar a su inquilino mediante
una serie de dispositivos ocultos en los muros. Así descubre que
ese vecino tiene una vida sexual complicada y decide complicársela
aún más prestándole a su propia esposa. El resultado es una rareza
construida sobre un clima de erotismo y suspenso, dos ingredientes
que rara vez se combinaron con inteligencia fuera de la década de
1970.
The original title states that there are eyes behind the walls. These
are the eyes of the extraordinary Fernando Rey in the role of a
crippled novelist whose favorite activity is spying on his tenant
by means of a series of devices hidden in the walls. This is how
he discovers that his neighbor has a complicated sex life, which
he decides to complicate even more by sending his wife to sleep
with him. The outcome is an oddity shaped by an atmosphere
of eroticism and suspense, two themes that have rarely been
combined intelligently since the seventies.
TENSIÓN AL AMANECER
Un pobre tipo, que ha sido golpeado demasiado, protagoniza un
episodio policial que pone en jaque a los poderosos de la ciudad,
provoca una reacción institucional desquiciada y se transforma,
además, en un circo mediático. El Bazofi ha emprendido una
campaña para que el realizador británico Peter Collinson (1936-
1980) sea canonizado porque la inmensa mayoría de sus films
trascienden los límites de los géneros a fuerza de originalidad,
lucidez política y una profunda vocación por el suspenso nihilista.
VHS ERÓTICO
Films clásicos del cine para adultos, las cuales serán exhibidas en el más popular de los
formatos hogareños: el querido VHS.
EROTIC VHS
Classic adult films will screen in the most popular of home formats: the beloved VHS.
251
Sex, sweat, skin on skin. In its third year, our Erotic VHS section
continues to develop and grow. Meanwhile, we are proud to showcase
three films starring strong and beautiful female leads: Isabel Sarli,
Madonna and Demi Moore. Sarli –sexual icon of the 70s in Argentina and
the world– brings her animal flirtation to Fuego, one of the many films
she filmed in tandem with Armando Bó, her long-time professional and
sentimental partner. Here emerges the possibility of reviving one of her
most controversial and celebrated stories. In turn, Body of Evidence
delivers equal doses of thriller and eroticism, as well as Madonna, Queen
of Pop, as the lead. This is the chance to see a complex gem, dark and
noticeably perverse. Next, we present the incredibly famous Striptease,
with a standout performance from Demi Moore. This film is a gripping
drama which, in the background, reveals the deep seated obsession of
the nineties for seeing its favorite celebrities represented everywhere.
Each with its own form, and following the cultural and contextual logic of
each era, these films clamor, shout and advocate for empowered women.
These are vital feature films that, put into perspective, serve to interpret
the lens through which cinema approaches sexuality. Here, there is no
trivialization of sex, just an authentic enjoyment of bodies.
VHS ERÓTICO 252 [25] FICVALDIVIA
FIEBRE
Una mujer libre, varios amores y una sola pasión. El cine de Isabel
Sarli y Armando Bó siempre tuvo exactas cantidades de erotismo y
lisergia. Pero es en Fiebre, una de las películas más taquilleras del
mundo en el año 1972, donde aquella alquimia encuentra su punto
más alto: Sandra (la imponente Coca) mantiene relaciones sexuales
con distintos personajes pero, curiosamente, lo hace refiriendo su
pasión a su amado caballo. Esta es una de las películas más icónicas
del cine erótico argentino.
STRIPTEASE
Una de las películas que definió el erotismo en los años noventa.
Criticada, llamativa y morbosa, Striptease erigió a Demi Moore
en una seductora imagen para la posteridad. La historia trata de
una mujer que se verá obligada a trabajar como bailarina en un
club nocturno debido a dificultades económicas. Entretanto, por
un problema judicial, esta perderá la custodia de su hija y, para
recuperarla, deberá luchar contra el sistema y contra un marido
adicto. Intriga política, desnudos y el ícono sexual de una época.
CINE INFANTIL:
EL DESPERTAR DE LA IMAGINACIÓN
VIVIENNE BARRY
CHILDREN’S FILMS:
AWAKENING IMAGINATION
VIVIENNE BARRY
Children’s films refer to movies for minors, suitable for their interests
and level of understanding, but we should expect more. We should also
expect imagination, artistic, aesthetic and technical quality that can be
both fun and educational for children, instilling ethical values in them
and activating their interest for the arts and culture.
PÁSATE UNA PELÍCULA 258 [25] FICVALDIVIA
ANTÓN
Antón es un niño de 6 años quien comienza un fantástico y fabuloso
viaje a partir de un inesperado accidente doméstico: Fantasma,
su perro, se come la torta de cumpleaños de su hermana a pocos
minutos de que lleguen los invitados.
Antón is a six year old boy who goes on a fantastic and wonderful
journey set off by an unexpected domestic event: Ghost, his dog,
ate his sister’s birthday cake minutes before the guests arrive.
ARGENTINA, 2013
11’ // DIGITAL
D María Rosario Carlino
JARDÍN MÓVIL
¿De dónde sale el sol?, ¿Cómo se forman las estrellas?, ¿Por qué
aparece el arcoíris cuando llueve? Los elementos de la naturaleza
arman y desarman diferentes paisajes que descubrimos cuando
nos detenemos a mirar.
Where does the sun come from? How are stars made? Why is
there a rainbow when it rains? The elements of nature make up
and take apart different landscapes that we discover when we
take the time to look.
ARGENTINA, 2016
3’ // DIGITAL.
D Paula Daveloza
JUGUETE NUEVO
Un bebé recibe un osito de peluche de su madre y se transforma
en su amigo inseparable. Con el tiempo, el regalo se transforma
en una carga: un ladrillo. El niño lo lleva ya sin alegría, hasta que el
destino le depara una sorpresa.
A baby gets a teddy bear from his mom, which becomes his
inseparable friend. But, over time, the gift becomes a tedious and
heavy object: a brick. He carries it around unhappily, until destiny
brings a surprise.
BRASIL, 2017
6’ // DIGITAL
D Rogerio Boechat
CHILE, 2017
8’ // DIGITAL
D G A Niños y niñas de la Escuela San
Francisco de Porres
[25] FICVALDIVIA 259 CHILDREN AND FAMILY FILM PROGRAM
LOS EMIGRANTES
Un padre y su hijo se disponen a viajar en busca de una mejor vida.
Pero lo que parece ser una sencilla decisión se transformará en
una odisea plagada de escollos, ante los cuales no habrá más
remedio que hacer algunos sacrificios.
A father and son arrange to travel in search of a better life. But
what seems to be a simple decision will turn out to be a journey
full of obstacles, where there will be no other choice but to make
some sacrifices.
ARGENTINA, 2017
13’ // DIGITAL
D Andrés Llugany
NUKU NUKU
Serie de TV infantil animada en técnicas mixtas que divulga la vida
de niños y niñas en Isla de Pascua. Martín, un niño del continente
chileno, llega a Rapa Nui y tres lugareños, Iti, Hau y Ovahe, le
muestran la isla.
Animated children’s TV series using mixed techniques, which
shows the life of children in Easter Island. Martin, a boy from
mainland Chile, arrives in the island and befriends three local
boys, Iti, Hau and Ovahe.
CHILE, 2018
13’ // DIGITAL
D Vivienne Barry
PÁSATE UNA PELÍCULA 260 [25] FICVALDIVIA
VIAJE A MARTE
Antonio es un niño que quiere viajar a Marte y afortunadamente,
su abuelo conoce el camino para llegar.
Antonio is a boy who wants to travel to Mars and fortunately, his
grandfather knows the way to get there.
ARGENTINA, 2004
16’ // DIGITAL
D Juan Pablo Zaramella
ANASTASIA
Beto, un marinero muy especial, emprende un viaje en el que
navega con rumbo desconocido y a través del cual va descubriendo
una tierra que se transformará en algo que nunca imaginó.
Beto, a very special sailor, sets out on a journey with an unknown
course on which he discovers a land that turns out to be like
nothing he ever imagined.
MÉXICO, 2016
6’ // DIGITAL
D Ane Rodríguez, Lore Monteiro
MÉDICO DE MONSTRUO
Eduardo es un niño de 9 años que tiene especial interés en los
monstruos y su pasión es seguida por su hermana menor. Poniendo
a prueba su capacidad de enfrentar prejuicios, Eduardo decide
seguir la carrera de médico de monstruos. La verdadera prueba
llega cuando un monstruo de verdad viene a pedir su ayuda.
Eduardo is a 9 year old boy with a particular interest in monsters,
and is followed by his younger sister Julia. Testing his ability
to face prejudices, he decides to follow the uncommon career
of monster doctor. The actual test begins when a real monster
comes asking for help.
BRASIL, 2017
11’ // DIGITAL
D Gustavo Teixeira
[25] FICVALDIVIA 261 CHILDREN AND FAMILY FILM PROGRAM
CHICO MIGUEL
Miguel es un niño pequeño que vive en una villa con su padre,
un hombre abatido por la vida que lo obliga a recorrer las calles
de Buenos Aires en busca de cartón. Miguel encuentra entre la
basura un títere de Pinocho, quien le enseñará una valiosa lección
sobre el amor incondicional.
Miguel is a small boy who lives in a poor neighborhood with his
father, a man beaten down by life who makes him wander the
streets of Buenos Aires in search of cardboard. Looking through
the garbage, Manuel finds a Pinocchio puppet that will teach him
a valuable lesson on unconditional love.
ARGENTINA, ITALIA, 2018
15’ // DIGITAL
D: Maximiliano Subiela
PÁSATE UNA PELÍCULA 262 [25] FICVALDIVIA
Fernández
TECNOTIEMPO
Segunda parte de “locura dimensional”. Los personajes entran a
un portal y llegan nuevamente a la dimensión de Valparaíso, pero
ahora todos son robots. Para saber qué pasó deciden viajar en el
tiempo.
CHILE, 2017
5’ // DIGITAL
Festival Ojo De Pescado
TEMPORADA DE RANAS
Es el verano de 1994 y la hora de la siesta en una pequeña ciudad
al sur de Santa Fe. Delfi y su primo Toto juegan a la sombra de
los árboles en la quinta de sus abuelos. Los días transcurren con
normalidad, hasta que la leyenda de la “Luz Mala” parece haberse
vuelto realidad.
It is the summer of 1994, and nap time in a small city south of
Santa Fe. Delfi and his cousin Toto play in the shade of the trees
at their grandparents’ orchard. The days pass normally, until the
legend of “Bad Light” seems to become real.
ARGENTINA, 2017
14’ // DIGITAL
D Florencia Momo
DOMINGO
Ana, una niña de 10 años, despierta sobresaltada creyendo que
se ha quedado dormida. Busca a su mamá, pero descubre algo
inquietante. Ana despertará a otro sueño en el que se encuentra
con su mamá para pasar un último domingo juntas, antes de volver
a despertar a su ausencia.
Ana, a 10 year old girl, wakes up startled believing that she had
accidentally fallen asleep. She searches for her mother, but
discovers something unsettling. Ana will awaken to another
dream where she and her mother will be together for one last
Sunday, before waking up to her absence.
ARGENTINA, 2018
11’ // DIGITAL
D Jazmín Ferreiro
PÁSATE UNA PELÍCULA 264 [25] FICVALDIVIA
Argentina, 2018
13’ // DIGITAL
D Matías Lucchesi
MENDIGO RUIDO
La rutinaria vida de un mendigo que trata de conseguir monedas
para comprar un sándwich se transforma cuando un joven le regala
unas baquetas, entregándole las primeras notas que compondrán
el resto de la historia.
The humdrum life of a beggar trying to get enough money to buy
a sandwich turns around when a young man hands him a pair of
drumsticks, giving him the first notes that will compose the rest
of the story.
COLOMBIA, 2018
7’ // DIGITAL
D Juan David León Quiroga
[25] FICVALDIVIA 265 CHILDREN AND FAMILY FILM PROGRAM
In a small village in northeast India, 10-year-old Dhunu dreams of having Bishnu Kalita, Manabendra Das,
her own rock band. Her vibrant spirit, imagination and self-assurance stand Bhaskar Das
out in a world where girls are expected to be timid and submissive. With
her gang of boys and the support of her widowed mother, Dhunu faces the
struggles of her daily life and hopes for the day she can finally play a real DIRECTORA
guitar.
RIMA DAS
(India, 1982)
2018 Bulbul Can Sing
2016 Man With the Binoculars
2009 Pratha
Jo, a witty 9-year old terminally ill girl is taken back to her rural village to live “Ginger” Wilson, Tom Tykwer,
out the rest of her short life. Her only comfort during these dull times are her Marie Steinmann-Tykwer, Guy
dreams of being a superhero, which prove to be something her rebellious Wilson
teenage sister Mwix, overprotective mother Kathryn, and the entire village F Enos Olik
of Maweni, think they can fulfill. A Neha Manoj Shah
E Charity Kuria
M Sean Peevers
I Stycie Waweru, Marrianne
Nungo, Nyawara Ndambia,
Johnson Fish Chege, Humphrey
Maina
DIRECTOR
LIKARION WAINAINA
C RUSHLAKE MEDIA
info@rushlake-media.com (Rusia, 1987)
2013 Between the Lines
2015 Bait
[25] FICVALDIVIA 267 CHILDREN AND FAMILY FILM PROGRAM
Lost in Paris, Cléo is looking for Paul and Paul is looking for Cléo. A poetic Dreyfus
adventure lived in 3-year-old kids’ shoes. F Sylvain Verdet
S Francis Bernard
E Nicolas Desmaison
M Vimala Pons, Tsirihaka
Harrivel
I Cléo Demoustier, Paul
Boutéraon
DIRECTOR
STÉPHANE DEMOUSTIER
(Francia, 1977)
C Stray Dogs www.stray-dogs.biz 2014 40-Love
www.stray-dogs.biz nathan@stray-dogs.com 2013 Les petits joueurs
2011 Bad Gones
2008 Dans la jungle des villes
PÁSATE UNA PELÍCULA 268 [25] FICVALDIVIA
An animated film about a girl with leukemia (Amelia) who wants to halt time.
In trying to do so, she’ll meet Malachi, an angel who lives insider her cuckoo
clock. He’ll take her to the Fields of Time, a fantastic world where hundreds
of thousands clocks crowd the sky safeguarding the time of humans on
Earth. There, Amelia will learn the value of the “HERE” and the “NOW”, of
those wonderful things that we have in the present and which are more than
enough reasons to carry on every day and fight for our dreams. MIGUEL ÁNGEL URIEGAS
(México, 1983)
2015 La increíble historia del niño
de piedra
2007 Wolfie
EXPLORA EL CINE
Concurso de MicroMetrajes Explora el Cine, organizado entre PAR Explora de
CONICYT Los Ríos y el Centro de Promoción Cinematográfica de Valdivia, junto al apoyo
del Consejo Nacional de Televisión Los Ríos.
Esta segunda versión convocó a estudiantes de la Región de Los Ríos en dos líneas:
de 5º a 8º básico y de 1° a 4° medio, a crear una obra audiovisual de hasta 60 segundos
con el tema “El año de los ¿por qué?”. El objetivo es que los jóvenes proyecten su
curiosidad en la pantalla.
EXPLORE CINEMA
The Explora el Cine Short Film Competition, organized by PAR Explora of CONICYT
Los Ríos and the Valdivia Cultural Center for Film Promotion, together with the support of
the Los Ríos National Television Council.
This second version called on two different groups of students from the Los Ríos
Region: from grades 5 to 8 sand from grades 9 to 12, to create an audiovisual work of up
to 60 seconds with the theme “The year of ‘why’s’?”. The goal is for young people to project
their curiosity onto the big screen.
The short films received were evaluated by a jury of science and art backgrounds.
The jury selected the finalist works that will be exhibited on Monday, October 8, within the
framework of the [25th] Valdivia International Film Festival and the Explora Program’s
24th National Science and Technology Week. The ‘The Fly Room’ –a film about the father
of modern genetics, Calvin Bridges, seen through the eyes of his daughter, Betsey– will
be screened prior to the show.
This association of cinema and science seeks to highlight and promote the
importance of asking questions and questioning the world around us, contributing to the
development of a more critical vision of our environment. We hope you enjoy it!
[25] FICVALDIVIA 271 EXPLORE CINEMA
entusiasmo, Calvin cruza la línea y la pequeña Betsey queda traumada por el M Daniel Wohl
tiempo que pasó con él. S Laura Sinnott
E Julia Bloch
During her first visit to an insect lab where her father is deciphering the
fundamental laws of genetics, 10-year-old Betsey is reluctant to enter this A Anna Yates
fly world. Eventually, she steps in deeply receiving an unorthodox education. I Zoe Brooks, Haskell King,
She is both perplexed and fascinated by how her father applies his genetic
Mikal Evans, Betsey Bridges,
research to his games of seduction. In the heat of his excitement, Calvin
crosses the line leaving young Betsey traumatized by the time spent with Ben Mehl, Stan Demidoff,
him. Stuart Firestein, Henry Hopper
DIRECTOR
ALEXIS GAMBIS
(Francia, 1981)
2017 Insan
2015 Guardian of the Mangroves
2014 Return to the Sea
C Imaginal Disc Alexis Gambis 2014 Campo experimental
www.theflyroom.com agambis@imaginesciencefilms. 2012 The Color of Time
org
EXPLORA EL CINE 272 [25] FICVALDIVIA
CICLO 5º A 8º BÁSICO
GRADES 5 TO 8
EL POR QUÉ
Muestra la curiosidad que experimentamos en diversas etapas de
la vida y cómo con el paso del tiempo la vamos perdiendo porque
dejamos de preguntarnos.
CHILE, 2018
1’ // DIGITAL - IO: Español / Spanish
Centro Educacional San Sebastián, Panguipulli.
fernando.matemagica@gmail.com
LA FRONTERA
Por qué existen las fronteras y para qué, es una duda que no
podemos resolver. Pero sí pensamos en la alternativa: derribarlas
para siempre.
Why are there borders and what for is a question we can’t answer.
But there is an option: to take them down forever.
CHILE, 2018
1’ // DIGITAL - IO: Español / Spanish
D Estudiantes Colegio José Manuel Balmaceda,
Futrono. cossiof79@gmail.com, kity_laura@hotmail.com
LA ISLA DE LA BASURA
En un mundo post apocalíptico, una niña sobrevive sola en una isla
de basura. Inesperadamente, aparece una gaviota y con ella una
oportunidad para cambiar las cosas.
CHILE, 2018
1’ // DIGITAL - IO: Español / Spanish
D Francisca Campos
Escuela México, Valdivia miguelsoto.grafico@gmail.com
CHILE, 2018
1’ // DIGITAL
IO: Español / Spanish
D Anelis Obando miguelsoto.grafico@gmail.com
Escuela México, Valdivia
[25] FICVALDIVIA 273 EXPLORE CINEMA
CICLO 1º A 4º MEDIO
GRADES 9 TO 12
Valdivia is known as the “Pearl of the South “, but, for how long?
Some areas show how this city is increasingly losing its liveliness,
without actions foreseen to prevent it.
CHILE, 2018
1’ // DIGITAL - IO: Español / Spanish
D P Vanesa Martin, I Melisa Toro, Rocio Liceo Rector Armando Robles Rivera, Valdivia.
Venegas vanesamartin2001@gmail.com
TEORÍA A PRUEBA
Un joven desea introducirse en el universo de las matemáticas,
ya que considera que es la base de todas las ciencias. Se propone
poner a prueba lo que aprendió sobre la parábola a través de un
importante edificio de la ciudad.
CHILE, 2018
1 // DIGITAL - IO: Español / Spanish
D Franco Vidal Zúñiga
I Franco Vidal Zúñiga, Emilio Vidal Rosas,
Francisco Pérez Ortiz franco.vidal63@gmail.com
Instituto Particular Gracia y Paz Valdivia
274
275
RED DE COMERCIO
ASOCIADO
FICValdivia PARTNER BUSINESSES
RED DE COMERCIO ASOCIADO 276 [25] FICVALDIVIA
FARMACIA LAS ANIMAS Av. Pedro Aguirre Cerda 398 10% de descuento en medicamentos
genéricos, antigripales, insumos
médicos y perfumería
Dharmandala Villa los pinos sector 6, Niebla 10 %
VESTUARIO / GARMENTS
Tienda D.I.Va. Paseo Peatonal Camilo Henriquez Hasta 20% de descuento en marcas
310 adheridas
EXCURSIONES / EXPEDITIONS
Vive Patagonia www.vivepatagonia.com 10%
STAFF
STAFF
[25] FICVALDIVIA 279 STAFF
PRODUCCIÓN
Jefe producción Ro Durán
Asistente producción Natalia Peña
Asistente producción Víctor Flandez
Secretaria Yanet Mansilla
Administración Cristina Parada
Jefe tramoya Edgardo Figueroa
PROGRAMACIÓN
Coordinador de programación y programador clásicos Guillermo Olivares
Programador Raúl Camargo
Programadora cine internacional Isabel Orellana
Programador cine internacional y Nuevos Caminos Gonzalo de Pedro
Programador cine internacional y Disidencias John Campos Gómez
Programador cine nacional y Nocturama Jaime Grijalba
Programadora infantil Vivienne Barry
Programadora juvenil Tiziana Panizza
Programador Primeras Naciones Francisco Huichaqueo
Programador VHS Erótico Hernán Panessi
Programador Totalmente Salvaje BAZOFI Fernando Martín Peña
Asesor celuloide Jaime Córdova
Coordinadora audiencia Claudia Santos
Producción de copias Francia Rosales
Agente de aduanas Claudio Pollmann
SALAS
Coordinador de salas: Sebastián Vega
COMUNICACIONES Y DISEÑO
Comunicación, prensa y redes sociales: Agencia Sangre
Contenidos Rubén Santander
Felipe Blanco
Digital Juan Pablo Faus
Prensa Natalia Raipán
Producción Isabella Jacob
Web Cecilia Basso
Prensa CPCV Eduardo Rocco
Director de arte y diseño Gabriel Rojas
Asistente de diseño Enzo Ruiz
Asistente de diseño Valentina Contreras
STAFF 280 [25] FICVALDIVIA
INVITADOS
Encargada departamento de invitados: Patricia Pérez Alvarez
Profesional de apoyo Jesenia Arriagada Gómez
Profesional de apoyo Catalina Salgado Olivera
Anfitrión Gastón Romero Olivos
Anfitrión Rodrigo Reyes Alvarez
Anfitriona Pilar Oyarzún Alvarez
ACREDITACIONES
Coordinador de acreditaciones Rodrigo Celedón
Asistente acreditaciones Eduardo Jara
Asistente acreditaciones Rodrigo Álvarez
PROTOCOLO
Protocolo Alejandra Rodríguez
CATÁLOGO
Editora de catálogo Irene Alvear
Traductor de catálogo Simon Tecklin - Irene Alvear
Diseño y diagramación Gabriel Rojas
PRODUCCION TÉCNICA
Productor técnico Carlos Vargas
Operador de 35mm y 16mm Byron Cabezas
Jefe sonido Patricio Muñoz
Subtitulador Francisco Rodríguez y equipo
Técnico Aula Magna Cristian Mardones
Audio e iluminación ASE-321
CPCV
Presidente: Juan Quintana
Secretario: Daniela Accatino
Tesorero: Guillermo Binimelis
Directores: José Araya
Enrique Carmona
Antonio Ruiz Tagle
Secretario Ejecutivo: Fernando Lataste