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INVITAN
ALIADOS PRINCIPALES
AUSPICIADORES OFICIALES
PATROCINAN AUSPICIADORES
MEDIA PARTNERS
MEDIOS COLABORADORES
COLABORADORES
DIRAC
Ministerio de
Relaciones Exteriores
Gobierno de Chile
Palabras 09
Words
P. 22 Seleccin Oficial 28
EN COMPETENCIA Largometraje Internacional
Ofcial International
IN COMPETITION Feature Selection
P. 27 Seleccin Oficial 43
Largometraje Chileno
Ofcial Chilean
Feature Selection
Seleccin Oficial 53
Cortometraje Latinoamericano
Ofcial Latin American
Short Film Selection
Seleccin Oficial
Cortometraje Infantil
Latinoamericano FICVin
67
FICVin Ofcial Latin American
Childrens Short Film Selection
P. 74
MUESTRA HOMENAJES MUESTRA RETROSPECTIVA
PARALELA TRIBUTES RETROSPECTIVE SERIES
Equity has been a founding value that has identified the Government
of President Michelle Bachelet. Its dimensions must reach as many
domains as it is necessary to insure the equality of opportunities that
allow for the development of the potentials of individuals and collectives
in our society. For this reason, we have maintained key reforms in
political, educational and labor issues.
The access to art and culture, both in the roles of creator and
spectator, are also basic to insure a just and democratic development.
Therefore, we, at the Regional Government, have worked in a series
of initiatives, where most relevant are probably those related with
infrastructure, which will allow us to recover historic theaters in the
region, and the creation of a Regional Policy for Culture and Identity.
We have also added with enthusiasm to the support of diverse
cultural initiatives born from grassroots citizen movements, and that
constitute the basic matrix for a region that wants to promote a creative
economy.
The [24] Valdivia International Film Festival is a consolidated space,
born out of the citizens heartbeat, that shows us, year after year, a
profound vocation for creativity, perseverance, beauty and inclusion.
PALABRAS 14 [24] FICVALDIVIA
Once more, we welcome to Valdivia, Cinema City, all the audiovisual arts
fans that come together in our privileged territory, to enjoy one of the
most important film events in the Southern Cone.
During last year, we had the honor of boasting the title: American
Cultural Capital, and without a doubt, the history of the Valdivia
International Film Festival has served to support such a designation,
which fills us with pride and with satisfaction, about this event that for
over 2 decades has positioned us a the local, national and international
levels.
Also worthy of note is the fact that the FICValdivia brand has
extended over the many months of the year, contributing directly
to diminish seasonality, and providing a recreational alternative for
Valdivian citizens and visitors in our always-welcoming Lord Cochrane
Municipal Theater.
From City Hall, we will continue to support this major project, and
in this twenty-fourth version, we wish the projectors to roll, and the
hundreds of seats to fill up, at all the venues that make up us this
veritable cultural network, that during seven days, allows us to enjoy the
best in world cinema, and also, of course, to explore the different nooks
that make up an essential part of one of the most interesting cities in the
southern end of the World.
PALABRAS 16 [24] FICVALDIVIA
scar Galindo V.
Rector
Universidad Austral de Chile
scar Galindo V.
Rector
Universidad Austral de Chile
Another year has gone by, and a new Festival has arrived.
In this new year, the Valdivia Cultural Center for Film Promotion
celebrates 15 years in operation, and we begin this new stage, committed
to promoting not only cinema, but the entire Creative Industry, as an
engine for regional development. Likewise, we remain devoted to the
development of audiences, education and cultural decentralization.
This year has brought with it sizeable projects and challenges.
To date this year, our programs for audience development and film
circulation have reached approximately 8 thousand spectators, free-of-
charge, throughout the diverse municipalities in the region, and we still
have many places to visit. In Valdivia, our projects at Schools and Pre-
schools have involved the production of short films, which will screen
at the festival. These projects have included the participation of entire
educational communities.
At present, CPCV and its annual ventures are possible thanks to the
support of the Otras Instituciones Colaboradoras (Other Collaborating
Institutions) program, including maintaining a year-round staff,
and initiatives in different areas. However, our event, which has run
uninterruptedly for 24 years, 11 of which have taken place under this
organization, continues to depend on grant funding, and the variations
this implies.
After 15 years of activity, we look to the future with two great
challenges in mind: permanent funding for FICValdivia, and its own
home: a space from where to deploy our work and activities, where we
can carry out weekly events, including screening and education in
short, a new space, open to the public, and devoted to the promotion of
culture and cinema in the Region.
With great dreams, we welcome you to this new version of the Valdivia
International Film Festival, hoping you will enjoy the movies, along with
the off-screen program we have prepared for you.
Welcome to FICValdivia.
PALABRAS 20 [24] FICVALDIVIA
Juan Radrign
Juan Radrign
Year after year since I had the honor of leading the direction of FICValdivia,
we have shared in these editorials the dreams our group of workers
has regarding cinema and the way to socialize it. These statements of
principles have also been the way to leave our intentions in writing, so we
can review whether we have accomplished our purposes.
The core idea in 2014 and 2015 revolved around the desire of being a
festival with year-round screening and educational activities, establishing
a logic from the south that contributed from the cinematographic to the
Chile we want: solidary, integrated in its plurinational and multicultural
character, without hiding our Latin American condition, and therefore,
in brotherhood with our neighbors. We want to be a place for meeting
and integration. In 2016, we went deeper, including the need for a
core revolving around education and citizen dialog, in other words,
becoming a festival that not only contributes from film, but also being an
instance that also links with other arts, with the sciences and his social
movements to advance to a better society, all this in alignment with our
origins in Universidad Austral de Chile, and our current development in
partnership with UACh, the Los Ros Regional Government, the Great
City of Valdivia, Codeproval and the Valdivia Cultural Center for Film
Promotion.
In 2017, we want to intensify this road for its projection into the
future, and for this, it is fundamental that FICValdivia possess a long-
term financing in the national budget. The celebration of our first
25 years (October 8 to 14, 2018) is just around the corner, and we
need to strengthen the work we have already done, so that, from this
foundation, we can explore new pathways. We need terra firma to
aim higher still. Because, although everything we have accomplished
makes us more than just a film festival, we are aware of the danger in
self-congratulation, in the repetition of formulas, in the tranquility of a
job well-done, with caring, instead of the passion and hunger to keep
searching for new challenges. These new challenges extend regionally,
nationally and across Latin America, from Valdivia, but in connection
with what is happening in a world we do want to change.
New challenges implying listening, debating and dialoguing to
prepare that leap.
And, just like Juan Radrign, we too think that leaping is worth it.
FILMS DE
INAUGURACIN
& CLAUSURA
OPENING & CLOSING FILMS
[24] FICVALDIVIA 23 OPENING & CLOSING FILMS
PRODUCCIN EJECUTIVA: RAL RUIZ Y LEO KOCKING DIRECCIN DE PRODUCCIN: CHAMILA RODRGUEZ
MAURICIO PESUTIC, CARLOS MATAMALA, ROBERTO POBLETE PRODUCTOR ASOCIADO: ENRIQUE LEN
FRANCISCO MORAGA, CONSUELO CASTILLO, LILIANA GARCIA, DIRECTOR DE ARTE: RODRIGO BAZAES
MARCIAL EDWARDS, ROBERTO CHIGNOLI, MARICARMEN, SINCRONIZACIN: MARCELO VEGA
ARRIGORRIAGA, FERNANDO BORDEU, MARIA ERICA RAMOS, DIRECCIN DE FOTOGRAFA: RODRIGO AVILS
FOTOGRAFA FIJA: LEONORA CALDERON DISEO DE SONIDO: NADINE VULLIIME, MAURICIO MOLINA
Lucky sigue el viaje espiritual de un ateo de 90 aos y los personajes P Greg Gilreath, Adam Hendricks,
extraos que habitan su pueblo perdido en el desierto. Habiendo John Lang, Danielle Renfrew
sobrevivido y fumado ms que sus contemporneos, el fieramente Behrens, Ira Steven Behr,
independiente Lucky se encuentra en el precipicio de la vida, en un Richard Kahan, Drago Sumonja,
recorrido de auto-exploracin hacia eso que a menudo es inalcanzable: Logan Sparks
la iluminacin. El debut en direccin del aclamado actor John Carroll F Tim Suhrstedt
Lynch, es al mismo tiempo una carta de amor a la vida y la carrera del
E Slobodan Gajic
recientemente desaparecido actor Harry Dean Stanton y una meditacin
S Alex Altman
sobre mortalidad, soledad, espiritualidad y conexin humana.
I Harry Dean Stanton, David Lynch,
Ron Livingston, Ed Begley Jr.,
Lucky follows the spiritual journey of a 90-year-old atheist and the quirky
Tom Skerritt, Beth Grant, Yvonne
characters that inhabit his off-the-map desert town. Having out-lived and
Huff Lee, Hugo Armstrong
out-smoked his contemporaries, the ercely independent Lucky nds
himself at the precipice of life, thrust into a journey of self-exploration,
DIRECTOR
leading towards that which is so often unattainable: enlightenment. The
directorial debut of acclaimed actor John Carroll Lynch, it is at once a love
letter to the life and career of Harry Dean Stanton, and a meditation on
mortality, loneliness, spirituality and human connection.
JURADO JURY
Kiro Russo
Director, Productor y guionista, Kiro Russo nace en Director, producer and scriptwriter, Kiro Russo was
La Paz, Bolivia y estudia direccin en la Universidad born in La Paz, Bolivia, and studied film direction in
del Cine, en Buenos Aires. Realiza los cortometrajes Universidad del Cine, in Buenos Aires. He has made
Enterprisse (2010), Juku (2012), Nueva Vida (2015) the short films Enterprisse (2010), Juku (2012),
y el largometraje Viejo Calavera (2016), ganando Nueva Vida (2015), and the feature Viejo Calavera
premios en importantes festivales internacionales (2016), receiving awards at important international
que incluyen Locarno, San Sebastian, Indielisboa, festivals that include Locarno, San Sebastian,
Ficunam, Jihlava, Valdivia, Cartagena, entre muchos Indielisboa, Ficunam, Jihlava, Valdivia, Cartagena,
otros. Ahora, Kiro se encuentra desarrollando su and many others. Now, Kiro is developing his second
segundo largometraje Loba. full-length, Loba.
Ela Bittencourt
Crtico, curadora y escritora basada en So Paulo, Critic, curator and writer based in So Paulo,
los ensayos de Bittencourt sobre cine y arte se leen Bittencourts essays on film and art appear in
en publicaciones internacionales que incluyen Art international publications, including Art in America,
in America, Artforum, Film Comment, Frieze, and Artforum, Film Comment, Frieze, and Village Voice.
Village Voice. Ha curado retrospectivas en EEUU She has curated retrospectives in the United States
(True/False Film Festival y MoMI, Nueva York) y en (True/False Film Festival and MoMI, New York) and
Brasil (Mostra de So Paulo, CCBB SP, CineSesc So in Brazil (Mostra de So Paulo, CCBB SP, CineSesc
Paulo e Instituto Moreira Salles, Rio de Janeiro). Ela So Paulo and Instituto Moreira Salles, Rio de
es miembro del comit de seleccin del Festival Janeiro). Ela serves on the selection committee for
Internacional de Documentales Tudo Verdade, Tudo Verdade International Documentary Film
desde 2015. Festival, since 2015.
Jernimo Rodrguez
Cineasta y crtico chileno radicado en Santiago y Jernimo Rodrguez, Chilean filmmaker and critic
Nueva York, Jernimo Rodrguez dirige Rastreador based in Santiago and New York, is director of
de estatuas (FID Marseille 2015, Premio especial Rastreador de estatuas (FID Marseille 2015,
del jurado FICCI 2016). Adems co-escribe Aqu Special Jury Prize at FICCI 2016). In addition, he is
no ha pasado nada, de Alejandro Fernndez co-writer of Aqu no ha pasado nada, by Alejandro
(Berlinale 2016) y co-produce La princesa de Fernndez (Berlinale 2016), and co-produced La
Francia, de Matas Pieiro (Locarno 2014). Junto princesa de Francia, by Matas Pieiro (Locarno
con ello, ha curado muestras de cine para el 2014). Together with that, he has curated film series
Museo Guggenheim, Cinema Tropical y The Robert for The Guggenheim Museum, for Cinema Tropical
Flaherty Seminar. En 2016, es elegido entre las 25 and The Robert Flaherty Seminar. In 2016, he was
caras nuevas del cine independiente, por la revista chosen among the 25 new faces in independent
estadounidense Filmmaker. cinema, by Filmmaker magazine.
SELECCIN OFICIAL LARGOMETRAJE INTERNACIONAL 30 [24] FICVALDIVIA
REY D, G
La historia del pueblo mapuche y su resistencia no ha estado exenta de Niles Atallah
extraas utopas como la de Orlie Antoine de Tounens y su intento de crear
P LucieKalmar
una republica independiente en la que l fuese rey de la Araucana. En su
excepcional trabajo de arte y mscaras, de fotografa y re-apropiacin del F BenjamnEchazarreta
material de archivo, Atallah convierte la fiebre del poder colonialista en E BenjaminMirguet
una pesadilla en clave de simulacro y aventura.
S Roberto Espinoza, ClaudioVargas
I RodrigoLisboa, ClaudioRiveros
The history of the Mapuche people and their resistance has had its share of
strange utopias, like the one predicated by Orlie Antoine de Tounens in his
attempt to create an independent republic where he would rule as king of DIRECTOR
Araucana. In its amazing work in art and masks, in photography and the re-
appropriation of archival material, Atallah turns the lust for colonialist power
into a nightmare in the key of simulation and adventure.
BY ISABEL ORELLANA
NILES ATALLAH
BARONESA D, G
Antunes retrata a las mujeres de la favela desde un lugar de poder, dueas Juliana Antunes
de su sexualidad aunque haya sido robada tantas veces, cmplices de
P Juliana Antunes, Marcella
sus hermanas, constructoras de su cotidiano. La violencia est siempre
latente fuera de los muros, pero la realizadora logra mantener una puesta Jacques, Laura Godoy
en escena donde el fuera de campo nos mantiene tensos, donde el dilogo F Fernanda de Sena
no es posible y aun as se tiene. La vida de favela aparece a la vez luminosa
E Affonso Uchoa, Rita M. Pestana
y cruda. Alejado del miserabilismo, el film encuentra un punto donde lo
S Marcela Santos
perverso y la felicidad conviven en contradiccin, sin condescendencia.
I Andreia Pereira de Sousa, Leid
POR ISABEL ORELLANA
Ferreira, Felipe Rangel
Antunes portrays the women from the favelas from a place of power, owners
of their sexuality, even if it has been taken so many times, allies to their DIRECTORA
sisters, builders of their daily existence. Violence is always there, pulsating
beyond the walls, but the lmmaker manages to set a stage where the off-
screen keeps us constantly in tension, where dialog is not possible, and even
so it does take place. Life in the favelas appears both cruel and luminous. Far
from miserabilism, the lm nds a point where perversion and happiness
coexist in contradiction, without condescension.
CASA ROSHELL D, G, E
En la casa de Roshell y Liliana la feminidad induce sensualmente a lo Camila Jos Donoso
masculino a transformarse en una versin fmina de su esencia, para
P Juan Pablo Bastarrachea,
renacer orgullosa como ellas o a entregarse a las caricias de esa nueva
femineidad, transformada, florecida como quienes visitan la casa. Garbie Ortega
La heterosexualidad no est vetada, sino reducida, ablandada, en ese F Pablo Rojo
espacio de utpico glamour trans. Ergo, Casa Roshell es la representacin
S Isol Valadez
(no)ficcional (tiene tanto de guin, como de intuicin) de la convivencia
sexualmente liberada dentro de esa misteriosa casa de espejos, rimmel I Roshell Terranova, Liliana
transformacin y maravilla.
DIRECTOR
POR ISABEL ORELLANA
This debut lm combines a poetic narrative of Tbilisi, with the story of a man
that arrives in the capital searching for work in a dance troupe, meandering
between marginal jobs and a homosexual love story. But that mute lm
blends with many others: with memories from the war, the incessant
changes in the city, and small gags that bring back the gesture comedy of
silent cinema. The pixels increase until exploding, building a stained glass
tableau of the Georgian city. Koberidze returns cinema towards its essential ALEXANDRE KOBERIDZE
state of transformation and wonder.
2017 The Perfect Spectator
2017 Linger on Some Pale Blue Dot
BY ISABEL ORELLANA
2015 Colophon
2013 Looking Back is Grace
rescatada.
DIRECTORA
POR JOHN CAMPOS GMEZ
The iron road as the path where the dreams, yearnings, hopes and illusions of
the working class transit: recording the process of destruction-construction
of an enormous high-speed railway that will join Azerbaijan and Europe, this
kind of Asian western, without Indians or cowboys, but with landscapes, is
a movie between movement and pause, between the toil and the silence of
the off-work hours, where fragments of a not-so-glorious past and of an
uncertain future seep through, with Europe as the nal destination. MARTIN DICICCO
Hay un cine poltico que no es panfletario, pero s militante, que no G Pedro Pinho, Luisa Homem, Leonor
adoctrina, pero conmueve, que no convence, pero vence con fuerza moral, Noivo, Tiago Hespanha
disciplina artstica y vitalidad musical contagiosa. Este film es un poco P Pedro Peralta, Joao Matos
todo eso y quizs muchas cosas ms: una cinta coral, musical, poltica y F Vasco Viana
militante, firmada en colectivo, rodada en grupo, realizada como parte de E Cludia Oliveira, Edgar Feldman,
un proyecto vital que es tambin proyecto poltico (porque vida y poltica Lusa Homem
si no son lo mismo, no son nada) que pasa necesariamente por el grupo. S Joo Gazua
Msica, revolucin y 16mm: una pelcula imprescindible. M Jos Smith Vargas, Pedro Rodrigues
I Jos Smith Vargas, Carla Galvo, Njamy
Daniele Incalcaterra
There is a kind of political cinema that is not propaganda, but is militant, that
does not indoctrinate, but touches, that doesnt convince but is victorious DIRECTOR
through moral strength, artistic discipline and a contagious musical vitality.
This lm is all that, and possibly more: an ensemble piece, musical, political
and militant, lmed and signed collectively, part of a life project that is also
political (because if life and politics are not the same, they are nothing), and is
necessarily a group process. Music revolution and 16mm: an essential lm.
BY GONZALO DE PEDRO
PEDRO PINHO
BRAGUINO D, G
En la taiga, lo nico peligroso es el hombre, dice el patriarca de los Clment Cogitore
Braguino, una pequea comunidad familiar en mitad de la taiga siberiana.
P Seppia Film, Making Movies,
Bosques, naturaleza salvaje y fro. El nico peligro, como dice el patriarca,
es el hombre y ms en concreto, los Kiline, vecinos cercanos, los otros, F Arte GEIE, La Lucarne, Yle,
la amenaza, la promesa de la violencia. Entre el misterio terrenal y la The Finnish Broadcasting Com-
contemplacin casi mstica de la naturaleza, Braguino introduce al
pany, Erkko Lyytinen
espectador en un mundo aislado, una suerte de paraso perdido en el que
el hombre se enfrenta a su peor enemigo: l mismo. F Sylvain Verdet
E Pauline Gaillard
POR GONZALO DE PEDRO S Julien Ngo Trong
In the taiga, the only danger is man, says the patriarch of the Braguino, M Eric Bentz
a small family community in the middle of the Siberian taiga: woods, wild
nature and cold. The only danger, as the patriarch says, is man, and, more
DIRECTOR
concretely, it is the Kiline, nearby neighbors, the others, the threat, the
promise of violence. Between the earthly mystery and the almost mystical
contemplation of nature, Braguino introduces the spectator to an isolated
world, a kind of lost paradise, where man faces his worst enemy: himself.
BY GONZALO DE PEDRO
CLMENT COGITORE
indomable como intensa, atravesada por conflictos religiosos, polticos, P Fernando Santos Daz, Lukas V. Rinner,
raciales y de clase que el film, lejos de esconder, abraza y multiplica en Christoph Friedel
fuerza fiera para una cinta que va ms all de lo conocido, lo etnogrfico, S Nahuel Palenque
lo documental o lo experimental, un espejo capaz de mimetizarse con las I Vicente Santos, Judith Rodrguez,
tensiones esenciales de un pas olvidado por todos. Yuberbi de la Rosa, Pedro Sierra,
MILLA D, E
Valrie Massadian quiere hacer filmes sobre mujeres o nias en edades de G Valrie Massadian
transicin. Con Nana, mima a una chiquita de 4 que vive su inocencia con
P Sophie Erbds, Gaijin
curiosidad y travesuras. En Milla, representa con spera ternura el severo
paso de adolescencia a maternidad de una chica de 17. En ese tiempo F Mel Massadian, Robin Fresson,
Milla se fuga, se divierte y enamora, se convierte en madre, cra, padece, Valrie Massadian
sonre, sigue viviendo; mientras, Massadian la acompaa
S S: Aline Huber
y nos la acerca. Valrie no dirige actores sino que baila con personas
I Severine Jonckeere, Luc
cuando filma. Ama a sus personajes y cada fotograma lo sigue
demostrando. Chessel, Ethan Jonckeere
C PHANTOM
6 villa St-Fargeau; 75020 Pars; [@] diff@lafabrique-phantom.org
Francia [t] +33 (0)1 80 06 08 34
SELECCIN OFICIAL LARGOMETRAJE CHILENO 43
Magdalena Arau
Programadora en Bafici, profesora en la carrera A programmer at Bafici, and teacher in the
de Licencia en Artes audiovisuales de UNLP, Arau Audiovisual Arts major at UNLP, Arau directs
dirige proyectos escnicos a partir de material projects for the stage constructed from audiovisual
audiovisual, exhibidos en numerosos festivales material, with shows at numerous international
internacionales (Kunstenfestivaldesarts, Sdpol, festivals (Kunstenfestivaldesarts, Sdpol, S8
S8 Mostra de Cinema Perifrico, Espacios Mostra de Cinema Perifrico, Espacios Revelados
Revelados Buenos Aires/Santiago de Chile, Bafici, Buenos Aires/Santiago de Chile, Bafici, and others).
y otros). Adems, fue miembro fundador de ARCA Additionally, she was founding member at ARCA
Archivo Regional de Cine Amateur. Regional Amateur Cinema Archive.
Gerwin Tamsma
Gerwin Tamsma trabaja para el Festival Gerwin Tamsma works at International Film Festival
Internacional de Cine de Rotterdam, desde 1996, a Rotterdam since 1996. He oversees the festivals
cargo de la seccin para jvenes cineastas Bright Bright Future section for young filmmakers, and
Future y programando largometrajes de pases programs feature films from countries in Asia, Latin
en Asia, Amrica Latina y Europa. Ha servido en el America and Europe. He has served on the Hubert
comit de seleccin del Fondo Hubert Bals desde Bals Fund selection committee since 1998, and
1998 y ha curado varias retrospectivas y programas has curated various retrospectives and thematic
temticos. Antes de unirse a IFFR, trabaja como programs. Before joining IFFR, he worked as a film
editor y crtico de cine. critic and editor.
Emilie Bujs
Programador del Festival de Cine de Mar del Artistic Director of Visions du Rel, International
Plata desde 2009, Conde es cofundador del sitio Film Festival Nyon, an expert for the fund Visions
web Encerrados Afuera, redactor de la revista Sud Est, and a member of the Image/Movement
Los Inrockuptibles y vicepresidente del Cineclub Commission of the CNAPNational Centre for Visual
Ushuaia, en Tierra del Fuego. Tras recibirse de Arts (Paris). She has been independent curator and
Montajista, trabaja en televisin como editor, teacher at the Geneva School of Art and Design,
guionista, productor y locutor. Adems, es co- Deputy Artistic Director at La Roche-sur-Yon IFF,
programador del ciclo Generacin VHS en and a curator at the Contemporary Art Center
el Museo de Arte Latinoamericano de Buenos Aires Geneva.
(Malba) y co-autor del libro Cine Bizarro y Fantstico
HispanoArgentino.
[24] FICVALDIVIA 45 OFFICIAL CHILEAN FEATURE SELECTION
This is the story of a woman in her forties who is attracted to her riding Augusto Matte
instructor, a former colonel in the army with a shady past. F Georges Lechaptois
E Jean de Certeau
DIRECTORA
MARCELA SAID
MARIALY RIVAS
LA DIRECTIVA D, G
La Federacin de rbitros de Ftbol Amateur tiene una nueva directiva. Lorena Giachino
Ellos reciben una organizacin en quiebra y una sede en precarias
P Paola Castillo
condiciones, y pese a que ya han envejecido, trabajarn colectivamente
F Pablo Valds, Eduardo Cruz
para reinventarse.
Coke
The Amateur Soccer Referee Federation has a new board of directors. E Javiera Velozo
But these leaders receive a bankrupt organization and headquarters in
S Roberto Espinoza
precarious conditions. Although they have aged, they will work together to
reinvent themselves. M Camilo Salinas
DIRECTORA
LORENA GIACHINO
Chile 2006, a country that maintains the same public policies of Augusto F Gustavo Uribe, Pablo Ramirez
Pinochets dictatorship: After 16 years in a state of democracy, will the S Gabriel Garrido
students be able to change Chiles future?
M Andrs Valdebenito
DIRECTOR
GUILLE SOHRENS
DESIERTO NO CIERTO D, G, F
El ciclo de vida en el desierto costero, representado por el cotidiano Nathaly Cano
de Mara (77) y Lidia (60) y su relacin con el territorio; este ciclo ser
p Cecilia Huine, EduardoRobles
amenazado por el progreso y la finitud inherente de sus vidas.
E Joaqun Ros
The cycle of life in the coastal desert, portrayed by the daily lives of Mara S Jssica Bruna, EmiliaCarrillo
(77) and Lidia (60) and their relationship to the territory; this cycle will be M Tatiana Lucero
threatened by progress and the inherent niteness of their lives.
DIRECTORA
NATHALY CANO
While trying to lead a normal life in Berlin, a young man struggles with his CristinaKnekamp
own emotional isolation. M AlexanderFolonari,
PabloArrangoiz, RubnBrovida
I IvnMelnick, BrbaraRichter,
ManuelaMorales
DIRECTOR
VICENTE DE SOLMINIHAC
C VICENTE DE SOLMINIHAC
[@] vicentedesolminihac@gmail.com
SELECCIN OFICIAL CORTOMETRAJE LATINOAMERICANO 53
JURADO JURY
Agns Wildenstein
Programadora de cine, Wildenstein nace en Francia Film programmer, Wildenstein was born in France,
y vive en Lisboa, Portugal. Trabaja diez aos en La and lives in Lisbon, Portugal. She worked ten years
Cinmathque Franaise, en Pars, y 12 aos en at La Cinmathque Franaise, in Paris, and 12
el Festival de Locarno, en Suiza. Tambin ha sido years at Locarno Festival, in Switzerland. She has
miembro de jurado del premio Jean Vigo por diez also been member of the Jean Vigo Award jury for
aos, miembro del comit de seleccin de ARTE ten years, member of the selection committee at
France Cinema, desde 2012 a 2015, y programadora ARTE France Cinema, from 2012 until 2015, and
asociada de DocLisboa, desde 2014. Le encanta el associate programmer for DocLisboa since 2014.
cine y el buen vino. She loves cinema and good wine.
Carlos Pieiro
Nacido en La Paz, Bolivia, estudia direccin de cine Born in La Paz, Bolivia, he studied film direction at
en la UC Boliviana. Dirige cuatro cortos, premiados UC Boliviana. He has directed four international
a nivel internacional: Martes de challa (2008), Max award-winning shorts: Martes de challa (2008),
Jutam (2010), Plato paceo (2013) y Amazonas Max Jutam (2010), Plato paceo (2013) y Amazonas
(2016), todos presentes en FICValdivia. Adems, se (2016), all present at FICValdivia. In addition,
dedica a la direccin de arte, diseo y escenografa he works in art direction, design and staging for
en teatro y audiovisual. Actualmente se esconde en audiovisual and theater projects. He is currently
las montaas, trastabillando con su proyecto de hiding in the mountains, stumbling with his feature
largo Sirena. project Sirena.
Aaron Cutler
Programador del festival brasileo Olhar de Film programmer for the Brazilian festival Olhar de
Cinema, Cutler ha sido curador de retrospectivas Cinema, Cutler has been curator of retrospectives
de cineastas como Thom Andersen, Heinz Emigholz, devoted to filmmakers like Thom Andersen, Heinz
Narcisa Hirsch, Lav Diaz, Kira Muratova, Anocha Emigholz, Narcisa Hirsch, Lav Diaz, Kira Muratova,
Suwichakornpong, entre otros. Junto a Mariana Anocha Suwichakornpong, among others. Together
Shellard, es co-fundador de la iniciativa Mutual with Mariana Shellard, he co-founded the Mutual
Films y mantiene un blog en ingls, The Moviegoer. Films initiative, and he keeps a blog in English, The
Moviegoer.
[24] FICVALDIVIA 55 OFFICIAL LATIN AMERICAN SHORT FILM SELECTION
SELVA D, G
La tierra expele y el ocano ahoga, Sofa Quirs Ubeda
las partidas se repiten en cada generacin. P Mariana Murillo Quesada
Selva baila entre voces y recuerdos,
F Francisca Sez Agurto
en un juego que la prepara para la inevitable separacin.
E Sofa Quirs Ubeda, Florencia
The land expels and the ocean drowns, Rovlich
departures repeat themselves in every generation. S Martn Scaglia
Selva dances within voices and memories,
M Fran Villalba
in a game that prepares her for the inevitable separation.
I Smashleen Gutirrez, Maikel
Gutirrez
DIRECTORA
SOFA QUIRS
RELATO FAMILIAR D, F, E
FotoSaeki es una tienda de fotografa abandonada, en el barrio de Santa Sumie Garca
Mara la Ribera, de Ciudad de Mxico. Su dueo, Yukio Saeki, lleg a
G Sumie Garca, Oscar Velzquez
Mxico en 1955. A la edad de 83, todava puede escuchar el eco de aquella
maana calurosa de lunes en Japn, mientras atravesaba un campo hacia Landzuri
el ocano, el da que cay la bomba atmica. p Santiago De la Paz Nicolau,
1955. At age 83, he can still hear the echo of a hot Monday morning in Japan, S Santiago De la Paz Nicolau
as he walked across a eld toward the ocean, when the atomic bomb fell.
M Josu Collado
I Yukio Saeki
DIRECTORA
SUMIE GARCA
SEBASTIN PINZN
EL HILO D, G, P, F
Una anciana ciega enhebra un hilo infinito mientras su casa flota en el mar Pablo Polanco, Pietro Bulgarelli
A veces le pide a su dios despertarse del sueo de estar viva
E Alonso Viquz
A veces le olvide cul es el sueo.
S Gabriela Fellet
An elderly lady threads an innite strand, while her house floats at sea M Oscar Burotto
Sometimes, she asks her god to wake her from the dream of being alive
Sometimes, to forget which is the dream.
DIRECTORES
PABLO POLANCO
PIETRO BULGARELLI
This trivial story about two people that meet at a party and spend the night E Agustina Andrade
together is told in the most pretentious, most poetic, but above all, most
S Carla Finco, Martn Gorosito
solemn way possible.
I Juan Games, Ayeln Espndola
DIRECTOR
ROBERTO PORTA
Wandering through the streets at night, Moni (17) runs into Lantern Eyes, an
imaginary friend who revives her childhood terrors. She tries to escape from
DIRECTORES
a suspicious man but he becomes a wolf and eats her. She wakes up lost
inside a sensory chaos.
CHILE, 2017
NOSOTRAS MISMAS 13 // DCP
Mara (45) vive junto a su hija Antonia (20) y su nieta Emilia (6), de
D Joaqun Gonzlez
quienes se debe hacer cargo, debido a que Antonia no ha sido capaz de
sostener una relacin maternal con su hija, desarrollando una absoluta P Christian Orellana
dependencia en ella. F Francisco Idalsoaga
E Toms Fuenzalida
Maria (45) lives together with her daughter Antonia (20) and her
granddaughter Emilia (6), having to take charge, since Antonia has not S Rodrigo Becerra
been able to build a maternal relationship with her daughter, developing an I Erika Molin, Claudia Vega
absolute dependence on her.
DIRECTOR
JOAQUN GONZLEZ
Two girls, Nieves and Luisa, fall madly in love and decide to look for money
to pay for a sex change surgery for Luisa; at the same time, they propose to
sow chaos in society.
DIRECTOR
GONZALO DAZ
C GONZALO DAZ
[@] gonzalo.diazoyola24@gmail.com
[t] +569 7904 6124
[24] FICVALDIVIA 63 OFFICIAL LATIN AMERICAN SHORT FILM SELECTION
CSAR GONZLEZ
MARTUCA D, G, E
En el sur de Chile, Marta, una humilde mujer de campo, desesperadamente Ricardo Valenzuela Pinilla
busca cumplir la ltima voluntad de su moribunda madre, la
P Camila Bascun Svendsen
extremauncin.
F David Nazareno
In southern Chile, Marta, a humble peasant woman, desperately seeks to S Martn Bohte
fulll her dying mothers last will, the last rites.
M Oscar Lap
DIRECTOR
RICARDO VALENZUELA
C DELAVIDA FILMS
Ricardo Valenzuela Pinilla [@] ric.valenzuelap@gmail.com
[t] + 569 9045 4122
[24] FICVALDIVIA 65 OFFICIAL LATIN AMERICAN SHORT FILM SELECTION
DIRECTOR
BENJAMN BRUNET
Fog has a curious effect on cinema. On the one hand, it precludes the
production of those images that seem articial, on account of their
sharpness. On the other, the mist gives each frame a mysteriously narrative
quality. The joy of watching the sea and the beach under a blanket of mist
allows eluding the world of the quotidian, to suspect the beauty of the
FLAVIA DE LA FUENTE
uncertain and unstable.
Flavia de la Fuente (Argentina,
1959)
2016 Fotgrafas
2016 Nadando en San Clemente
2015 Diario de un corto
2014 El paseo
2013 5 das en la playa
SELECTION
SHORTFIlLM CHILDISH
OFFICIAL LATINAMERICAN
SELECCIN OFICIAL CORTOMETRAJE INFANTIL LATINOAMERICANO 68 [24] FICVALDIVIA
CHILE, 2017
HERES THE PLAN 18 // DCP
Un corto animado en 3D, acerca de una pareja constituida por una gata y
un perro, que aman hornear y se aman entre s. D, P
Fernanda Frick
A 3D animated short lm about a cat-and-dog couple that loves baking and A FranciscoAnabaln, Diego Oliva,
loves each other.
Maikoe Alaniz, Maria Jos Venegas
E Cristin Toledo
S Daniel Ferreira
M Joel P. West
DIRECTORA
FERNANDA FRICK
C Fernanda Frick
[@] hola@fernandafrick.com
[t] +56 22 269 9164
[24] FICVALDIVIA 69 OFFICIAL LATINAMERICAN SHORTFIlLM CHILDISH SELECTION
En su lecho de muerte, un sacerdote Kogui recibe a su nieta Jibuldu, una Gmez, Roberto Montoya
nia que quiere demostrar que est lista para ayudar. Ella emprende G Miguel ngel Rojas
una aventura, entrando en un mundo fantstico llamado Aluna, un lugar P Germn Franco Dez, Cristin
maravilloso donde viven las ideas y pensamientos. Jibuldu aprender Freire, Mara Anglica Ossa, Samar
la importancia de su historia y de su pueblo. Nuhuani es un corto sobre Atta Alzate
los mitos y leyendas de la cultura Kogui, una de las culturas ms ricas y F Andrs Morales
alucinantes de las tradiciones orales andinas. La cinta es un homenaje a
E Carlos Mario Lozano
las comunidades y pueblos originarios de Amrica que custodian la Sierra
S Triq Burney, Diana Chica
Nevada.
M Triq Burney, Nicolas Muoz
On his deathbed, a Kogi priest is visited by her granddaughter Jibuldu, a girl I Mara Camila Rodrguez, Carlos
who wants to show him she is ready to help. She starts an adventure entering Mario Echeverry, Andrs Rodrguez
a fantasy world called Aluna, a wonderful place where ideas and thoughts
DIRECTORES
live. Jibuldu will learn the importance of her history and her people. Nuhuani
is a short lm about the myths and legends of the Kogi culture, one of the
richest and most amazing cultures of the Andean oral traditions. This lm
wants to pay tribute to the American native communities and settlements
that guard the Sierra Nevada.
P Denise Marchi
A child goes to spend the weekend with his grandparents. During a day
E Felippe Steffens, Leonardo
shing, he nds a secret about his grandfather, and ends up making a new
and unusual friendship. This lm was made together with 2nd year students Bentolila
from the municipal school of fundamental education, in the Porto Alegre S Tiago Bello, Marcos Lopes
municipality.
M Felipe Puperi
DIRECTORES
FELIPPE STEFFENS
CARLOS MATEUS
Felippe Steffens (Brasil, 1987),
Carlos Mateus (Brasil, 1987)
2016 Lipe, vov e o monstro
C Carlos Mateus
[@] carlosmateusanima@gmail.com
[24] FICVALDIVIA 71 OFFICIAL LATINAMERICAN SHORTFIlLM CHILDISH SELECTION
S Rodrigo Mardones
Juanito, an eight-year-old boy, tormented by a mysterious dark monster
M Patricio Baez
that oppresses his mother, one magical day decides not to fear anymore, to
help her out of her sadness, without suspecting he will have to delve into the
depths of the night his best weapon, creativity. DIRECTORES
FRANCO RAMPOLDI
DANIELA REYES
M Tito La Rosa
Caminho dos Gigantes is a poetical search for purpose and reason that
follows the story of Oquir, a six-year-old indigenous girl, as she confronts
the cycle of life and the concept of destiny. The lm explores the forces in
nature, music and our connection with earth.
DIRECTOR
ALOIS DI LEO
Both in his poetry books and in his over 50 audiovisual works, Sion Sono has always
been tied to the strength of youth, as lived by himself and portrayed by his characters.
An initial period in his cinema (which we will call formative) is strictly related to
the affirmation of his own youthful identity, which always has an urgent character. In
his first shorts and features, there is a need to constantly reaffirm his own name, and
to deliver in performance his own vision of the world, presenting us with a young man
that realizes cinema is the clearest way out of a society that drives youth towards
self-destruction.
It is precisely with that emphasis in self-destruction, so much a part of the gene-
ration trapped in 21st-century Japan, that Sion Sono opens his second period, posi-
tively linked to the Japanese horror cinema boom of the end of the 90s. He becomes
known around the world with Suicide Club (2001), appropriating the audiences thirst
for horror, but at the same time relating it like no other to social anxieties.
Love Exposure (2008) should be understood as the sum of all of Sion Sonos past
obsessions, displayed on a four-hour epic about religion, family, sexual perversion,
being a teen and, above all else, what it means to truly feel love. But it is not just an
accumulation of topics and aesthetic ideas, but it also serves as a liberation platform:
free now from all constraints that would have overwhelmed him in the past, he is ab-
solutely unleashed for everything that will come in the future.
This latest stage, situated in the 2010 decade, has been Sion Sonos most prolific.
He works with the great Japanese studios, such as Nikkatsu, in one of his most se-
xually open titles yet: Guilty of Romance (2011), with Megumi Kagurazakas master-
ful performance. But, he also does independently, finally bringing to life those dream
projects from his first years as a filmmaker. His starting point is always youthful revo-
lution as an objective, from manga adaptations, to family dramas that mix with other
film genres, in delirious movies, with an amazing freedom to set up crosses between
family cinema, fantasy, musical, solitude and love, as he does in Love & Peace (2015).
And so, he arrives at his latest project: Tokyo Vampire Hotel (2017), a vampire pictu-
re co-produced with Romania and made for Amazons online series platform; we will
host the international premiere of the abbreviated version for the big screen.
That constant youthful pulsation makes him one of the most energetic directors
working today, which is clearer than ever in one of his best movies, where he offers
a manifesto of sorts about his work. In Why Dont You Play in Hell? (2013), young
amateur filmmakers break every social, cultural and moral code, with the purpose
of making their dream picture, after commending themselves to the God of Cinema.
So, we commend ourselves to you, then, God of Cinema, in this new edition of
Valdivia, grateful for the presence of he who has defined, and continues to define,
Japanese modern cinema. Thank you for Sion Sono. Thank you for Cinema.
CINEASTAS INVITADOS 78 [24] FICVALDIVIA
LOVE EXPOSURE D, G
Habiendo crecido en una devota familia cristiana, Yu siempre fue bien Sion Sono
portado. Despus de la muerte de su madre, una mujer seduce y rompe
P Haruo Umekawa, Toyoyuki
el corazn de su padre, un pastor que atormenta a Yu, forzndolo a
confesar sus pecados. Pero siendo un chico normal, no tiene qu confesar. Yokohama, Shinya Kawai,
Determinado a convertirse en un verdadero pecador, Yu se hace experto Shusaku Matsuoka, Yutaka
en pornografa, para captar la atencin de su padre. Un, da conoce a la
F Morohashi
hermosa Yoko. Hay dos problemas ella piensa que l es mujer y Aya,
E Sohei Tanikawa
truculenta lder de un culto, cuidadosamente manipula sus vidas.
S Junichi Ito
Having grown up in a devout Christian family, Yu has always been a well- M Yasushi Nagaguchi
behaved kid. After his mother dies, his priest father is seduced by a woman
Tomohide Harada
who breaks his heart, causing him to torment Yu by forcing him to confess
his sins. But being a normal kid, Yu has no sins to confess. Yu is determined I Takahiro Nishijima, Hikari
to become a true sinner, training to become an expert at pornography to get Mitsushima, Sakura Ando,
his dads attention. One day Yu meets a beautiful girl named Yoko. There are
Makiko Watanabe, Atsuro Watabe
only two problems she thinks hes a woman, and a devious cult leader Aya
is carefully manipulating both their lives.
GUILTY OF ROMANCE D, G
Izumi est casada con un novelista romntico famoso, pero sus vidas Sion Sono
parecen solo una simple repeticin carente de romance. Un da, ella
P Kenjiro Toba, Toshimichi
decide seguir su deseo de ser una modelo que finge sexo, desnuda frente
a la cmara. Pronto, conoce a un mentor y comienza a vender su cuerpo Otsuki, Yoshinori Chiba,
a extraos, mientras en casa, sigue siendo la esposa que debe ser. Un Nobuhiro Iizuka
cuerpo brutalmente asesinado es hallado en el distrito de los hoteles
F Sohei Tanikawa
parejeros. La polica intenta entender qu pas.
E Junichi Ito
Izumi is married to a famous romantic novelist but their life seems just S Masatoshi Saito
a simple repetition without romance. One day, she decides to follow her M Yasuhiro Morinaga
desires and accepts to be a naked model that fakes sex in front of the
I Megumi Kagurazaka, Miki
camera. Soon, she meets a mentor and starts selling her body to strangers,
but at home, she is still the wife she is supposed to be. A brutally murdered Mizuno, Makoto Togashi, Kanji
body is found in the love hotels district. The police try to understand what Tsuda
happened.
Muto and Ikegami are two gangsters who hate each other, but Ikegami is in I Jun Kunimura, Shinichi
love with Mutos actress daughter Michiko. Meanwhile, Muto attempts to
Tsutsumi, Hiroki Hasegawa,
make his wife Shizues dream come true: to have their daughter appear in a
Gen Hoshino, Fumi Nikaido,
movie. Koji, who is just a passerby, is mistaken for a movie director. Koji then
requests to independent lm director Hirata to cast Michiko as the leading Tomochika
actress in this lm. Their situation soon goes completely wrong.
Kamagata,Masao Teshima
Bullied and diminished by his fellow employees, demure and bashful Ryoichi
F Nobuya Kimura
Suzuki nds support in an unusual friendship with a turtle. Together they
will share many adventures and nally conquer the world. M Yasuhiko Fukuda
Toshiyuki Nishida
It was faith I went looking for, but what kept showing up was exodus
It was faith I went looking for, but what kept showing up was exodus
UNTIED
Un pequeo retrato sobre la volatilidad de la intimidad y sobre
liberarse de ciclos abusivos: hecha en respuesta a un ao de
relaciones en colapso y accidentes violentos que me dejaron
quebrada, dislocada y atrapada en mi departamento.
ESTADOS UNIDOS, 2007 6 // 16MM Sometimes the supernatural lingers plainly in the most ordinary places,
secret only because its trace goes unnoticed. Both a letter to a cancer stricken
alchemist-lmmaker friend, and a quiet tribute to the vanishing art of celluloid,
the lm is full of ghosts. The music, La lutte des mages (The Struggle of
Magicians) was composed by Armenian mystic Georges Gurdjieff and Thomas
De Hartmann. Gurdjieff thought man was a transmitting station of forces. To
him, most people exist in a state of waking sleep, so he sought to provide aural
conditions to induce awareness.
A suite of Midwestern parables that question the historical role belief has
played in ideology and national identity, this experimental documentary is
comprised of regional vignettes about faith, force, technology and exodus.
Eleven parables relay histories of settlement, removal, technological
breakthrough, violence, messianism and resistance, all occurring
somewhere in the state of Illinois. The state is a convenient structural ruse,
allowing its histories to become allegories that explore how were shaped by
conviction and ideology.
C DEBORAH STRATMAN
1958 W. Walnut St.; Chicago, IL [@] delta@pythagorasfilm.com
60612-2406; EEUU [t] +01 312 243 1227
[24] FICVALDIVIA 79 GUEST FILMMAKERS
aviso
CINEASTAS INVITADOS 92 [24] FICVALDIVIA
SOCAVN CINE
CINEASTA INVITADO GUEST FILMMAKER
[24] FICVALDIVIA 93 GUEST FILMMAKERS
Desde 2008 corren renovadsimos vientos en el cine boliviano. Hoy, nueve aos des-
pus, ya sentimos cmo arrecia ese soplido fuerte viento paceo que ya no slo se
extiende hacia todo Bolivia, penetrando minas y ventilando costumbres varias, sino
que oxigena todo el pas del cine. El grupo Socavn Cine, conformado por Kiro Russo,
Pablo Paniagua, Carlos Pieiro, Gilmar Gonzles y Miguel Hilari, acarrea esos nuevos
aires cinematogrficos; as lo dicen:
Comunidad Audiovisual Boliviana con bsquedas y formas particulares, pero
con una preocupacin en comn: Contemplar nuestros contextos, nuestros lugares,
la gente, sus historias. En el cine y en la vida.
Esa es una descripcin que esclarece dudas conceptuales, a la vez que invita a
imaginar las posibilidades formales de esa conjuncin entre cine y vida que ex-
presa su manifiesto.
Por su parte, Kiro Russo, director de Viejo Calavera (2016), dice: La idea de So-
cavn Cine siempre fue potenciar los intereses de cada autor para que concrete sus
bsquedas particulares, pero siempre tuvimos en comn el inters por buscar dife-
rentes formas de utilizar el lenguaje del cine, la experimentacin formal, la reinter-
pretacin de ciertos temas nacionales y la valorizacin de un cine artesanal hecho
entre muy pocos y en muchos casos rotando roles.
Y es que Socavn Cine es una suma de individualidades que se potencian entre
s, ms que un colectivo indivisible en estricto sentido. Ello queda de manifiesto en
esta muestra representativa de cortometrajes, donde desempean distintos roles de
la creacin cinematogrfica.
Hablemos primero de Carlos Pieiro y su Martes de challa (2008). He aqu una re-
presentacin docuficcional de un rito secreto que realizan los grupos de construccin
civil para bendecir sus edificaciones. Volvera a este costumbrismo con Plato paceo
(2013), donde rinde honor cinematogrfico a un ritual culinario. Por otro lado, con Max
Jutam (2010) y Amazonas (2015), Pieiro reflexiona sobre los devenires emocionales
que acarrea la migracin, en este caso a La Paz y Brasil, respectivamente.
Pablo Paniagua es fundamental en la parte visual de los trabajos de Socavn.
Extraordinario como director de fotografa de los cortometrajes de Carlos Pieiro y
Kiro Russo, tambin dirige Uno (2010) y Despedida (2015), dedicados a las reflexiones
existenciales de Viktor Gourianov, inmigrante ruso que arriba a Argentina en los 90 y
con quien Paniagua mantuvo una larga amistad durante su estada en Buenos Aires.
Kiro Russo ha mostrado gran versatilidad formal en los cuatro cortometrajes que
dirige antes de su pera prima Viejo Calavera, incluyendo un sutil diseo sonoro rea-
lizado por l mismo, con la nica excepcin de Enterprisse (2010), el enigmtico corto
donde hombre y mquina se funden ldicamente en un parque de diversiones. Juku
(2011) es el primer acercamiento cinematogrfico de Russo a las minas de Huanuni,
locacin principal de su Viejo Calavera. En Juku, las minas hacen sentir su eco, banda
sonora de este cortometraje que siluetea sus formas en las profundidades de la mina,
a travs del halo de luz que la lmpara de un minero proyecta; luz que esculpe.
Nueva vida (2015) sobrecoge. Una familia de inmigrantes vive su cotidiano en un
alto piso de Buenos Aires. Nosotros, a la distancia, vemos cmo esas vidas transcu-
rren. Hasta que nace una nueva. La bestia (2015), en tanto, nos sita en 1538. El Im-
perio Incaico an domina los Andes sudamericanos y los chasquis corren entregando
mensajes, como Sisco. Un da, se dar un encuentro trascendente entre Sisco y una
bestia venida de otras tierras.
Vendaval cinematogrfico que sopla desde el socavn.
CINEASTAS INVITADOS 94 [24] FICVALDIVIA
Since 2008, largely renewed winds began blowing over Bolivian cinema. Today, nine
years later, we feel how those gusts intensify strong winds from La Paz that no
longer extend exclusively across Bolivia, penetrating mineshafts and ventilating as-
sorted customs; it oxygenates the entire cinema nation. The Socavn Cine collective,
made up of Kiro Russo, Pablo Paniagua, Carlos Pieiro, Gilmar Gonzles and Miguel
Hilari, carries those new cinematographic winds. Indeed, they so state:
Bolivian Audiovisual Community with particular interests and forms, but with a
common concern: To contemplate our contexts, our places, people, their stories. In
cinema and in life.
This description clarifies conceptual matters, while at the same time, inviting to
imagine the formal possibilities in that conjunction between cinema and life, as
expressed in their manifesto.
On his part, Kiro Russo, director of Viejo Calavera (2016), says: The idea behind
Socavn Cine was always to bolster the interests of each author, so they can crys-
talize their particular searches, but we always had a common interest to look for
different ways to use film language, formal experimentation, the reinterpretation of
certain national topics and the appreciation of an artisanal kind of cinema, crafted
by very few people, often rotating roles.
The thing is Socavn Cine is more a sum of individualities that foster each other,
than an indivisible collective in the strict sense. This becomes manifest in this repre-
sentative sample of short films, where they perform different roles in their cinemato-
graphic creation.
Lets speak first about Carlos Pieiro and his Martes de Challa (2008). Here is
a docufictional representation of a secret rite that construction workers perform to
bless their edifications. He would return to this costumbrismo with Plato Paceo
(2013), where he pays cinematographic tribute to a culinary ritual. On the other hand,
with Max Jutam (2010) and Amazonas (2015), Pieiro makes a reflection about the
emotional progressions that migration carries, in this case, to La Paz and Brazil, res-
pectively.
Pablo Paniagua is fundamental for the visual aspect in Socavns work (socavn
meaning hollow or cavern). An extraordinary DOP in Pieiros and Russos shorts, he
also directed Uno (2010) and Despedida (2015), devoted to existential ruminations by
Viktor Gourianov, a Russian immigrant that arrived in Argentina during the 90s, with
whom Paniagua developed a long-lasting friendship, during his stay in Buenos Aires.
Kiro Russo has shown great formal versatility in the four short films he directed,
prior to his debut feature Viejo Calavera, including a subtle sound design he did him-
self, with the only exception of Enterprisse (2010), the enigmatic short where machine
and man playfully merge at an amusement park. Juku (2011) is Russos first filmic
approach to the mines in Huanuni, main location in his Viejo Calavera. In Juku, the
mines let their echoes be heard, the soundtrack for a short that cuts out its shapes
in the depths of the mine, by the halo of the light projected from the miners lamp; a
light that sculpts.
Nueva Vida (2015) is breathtaking. An immigrant family lives their everyday exis-
tence in an apartment in Buenos Aires. At a distance, we observe how those lives un-
fold. Until, a new life is born. La bestia (2015), in turn, situates us in 1538. The Inca
Empire still dominates the South American Andes and chasquis (runners) deliver
messages as is the case with Sisco. One day, a transcendental encounter will take
place, between Sisco and a beast from other lands.
Cinematographic winds blow from the hollow.
[24] FICVALDIVIA 95 GUEST FILMMAKERS
ENTERPRISSE
El hombre, la ciudad, la mquina: Una vez que se ha subido
al Enterprisse, debe seguir las instrucciones del maquinista.
D Kiro Russo
JUKU
En el fondo, en las profundidades, un hombre se mueve. Tie-
ne una lmpara. Las piedras que se forman con su luz van
tomando la pantalla. Diez mil personas entran diariamente
en el interior de la mina Posokoni, de Bolivia.
D Kiro Russo
LA BESTIA
1538. En el imperio incaico se ha hecho presente un visitan-
te extrao. El chasqui Sisco dar la noticia.
D Kiro Russo
CINEASTAS INVITADOS 96 [24] FICVALDIVIA
SOCAVN CINE
NUEVA VIDA
Misterios, angustias y sueos de una nueva vida
D Kiro Russo
[24] FICVALDIVIA 97 GUEST FILMMAKERS
MARTES DE CHALLA
Martes de Challa muestra de manera peculiar, imgenes
y situaciones vinculadas a una creencia guardada entre
quienes se dedican a la construccin de edificios, los cuales
conocen una manera de invocar cierto tipo de bendicin, a
travs de un rito secreto.
D Carlos Pieiro
MAX JUTAM
Max viaja por primera vez desde su comunidad hasta la ciu-
dad de La Paz, sin retornar nunca ms. Un buen da, movido
por una extraa sensacin de nostalgia decide volver para
comprender el significado oculto de su destino.
Max travels for the rst time out of his community to the city
of La Paz, never to return. One ne day, moved by a strange
sensation of nostalgia, he decides to go back, to understand
BOLIVIA, 2010 11 // DCP the hidden meaning of his destiny.
D Carlos Pieiro
PLATO PACEO
En un patio de la ciudad se prepara el plato favorito de
Don Corcino. Toda la familia est reunida porque hoy es su
despedida.
D Carlos Pieiro
CINEASTAS INVITADOS 98 [24] FICVALDIVIA
SOCAVN CINE
PREMIERE CHILENA CHILEAN PREMIERE
AMAZONAS
Celestino parte desde los Andes hacia Brasil, en busca de
nuevas oportunidades, pero no puede llegar a su destino. El
migrante se queda en la frontera y es conminado a trabajar
en la nica lavandera del lugar, donde el cautiverio le revela
el verdadero valor de su libertad.
UNO
Nada es igual que antes. A veces, la espera se transforma en
una herramienta de tortura.
D Pablo Paniagua
DESPEDIDA
Despus de 20 aos lejos de su pas natal, Viktor Gourianov
reflexiona sobre su pasado y presente.
C: SocavnCine
Calle Mendez Arcos 819, Sopocachi; La Paz; Bolivia
ARGENTINA, BOLIVIA, 2015 6 // DCP +59 12 241 1766
+59 16 717 1720
D Pablo Paniagua info@socavoncine.com
socavoncine.com
MUESTRA
PARALELA
OUT OF COMPETITION PROGRAM
1873 - 1968
ALICE GUY
HOMENAJE TRIBUTE
[24] FICVALDIVIA 103 TRIBUTES
ALICE GUY:
LA PIONERA INVISIBILIZADA
POR RAL CAMARGO
Existen pruebas fehacientes que determinan que La Fe aux Choux fue realizada en
abril de 1896. La importancia de dicho dato es que se hizo antes de la irrupcin de
George Melies, considerado el padre de la ficcin (LArroseur arros de Louis y Auguste
Lumiere es ms bien un ejercicio narrativo realista, y el resto de la obra inicial de los
hermanos es ms bien documental). Eso convierte a Alice Guy en la creadora de la
ficcin narrativa, en la persona que tuvo la visin de contar historias a travs del cine,
es decir el modelo que impera hasta el da de hoy.
Entonces, por que su figura no ha sido reconocida como se merece en la historia
del cine?
Aunque la primera razn es obvia, no es menos cierta: la industria cinematogr-
fica tambin es un reflejo de la sociedad y por ende est lamentablemente domina-
da por hombres. Alice tambin sufri aquello, primero con su jefe, el todopoderoso
Leon Gaumont, a quin convencer de que la dejase realizar pequeas obras cuando
el cine era ms bien una novedad tcnica, lo cual l acepta solo a condicin de que no
abandone su labor de secretaria en la empresa; es decir le dar permiso pero la har
trabajar el doble y por el mismo salario. Les suena familiar? Luego ser su marido, el
operador de cmara Herbert Blach, quien terminar adjudicndose, al igual que otros
varios hombres que trabajaron con ella, obras como propias siendo que su autora fue
Alice Guy.
Una segunda razn, igual de penosa que la primera, estriba en la absoluta pereza
de investigadores y divulgadores cinematogrficos, que primero no creyeron en la mis-
ma Alice cuando inici una campaa de dcadas para encontrar sus pelculas, escribir
sus memorias y defender su legado. Luego, una vez ya muerta y cuando su importancia
fue indesmentible, tampoco escribieron libros, ni organizaron seminarios ni muestras
especiales, ni siquiera la propia Gaumont la honr cuando la compaa cumpli 120
aos, dejando su nombre fuera de los actos conmemorativos, siendo que Guy contri-
buy decisivamente al xito de la empresa. Solo honrosas excepciones como Alejan-
dra Val, Alison McMahan, Nicole-Lise Berheim, Claire Clouzot, Marquise Lepage, Em-
manuelle Gaume, y sus familiares Alice Guy Peteers y Rgine, Roberta y Simone Blach
han contribuido a difundir su obra. No es casualidad que todas ellas sean mujeres.
Es por esto que para nosotros es fundamental rescatar su figura, no solo por el
hecho de que es cuasi-chilena (sus padres franceses vivan en Chile, todos sus her-
manos son chilenos menos ella, ya que su madre viaj embarazada a Francia para
dar a luz all y luego vivi parte de su infancia en nuestro pas). Tambin, porque gran
parte de lo constitutivo del cine (el contar historias, la utilizacin del montaje y trucos
de cmara para generar efectos, la utilizacin del color y el sonido, el establecimiento
de roles en el rodaje e incluso la lgica de superproducciones) fueron desarrollados
por Alice Guy, manejando como nadie antes lo hizo la direccin, tcnica, arte y pro-
duccin. Narrativamente hablando, no solo es la creadora del cine de ficcin, tambin
fue una adelantada a su poca, ya que a su cine cmico tambin le agreg una serie
de temticas fundamentales y que tristemente hasta el da de hoy no estn resueltas,
instalando los derechos de la mujer, la tolerancia racial y la igualdad, mostrando un
compromiso poltico que la convierten en una figura revolucionaria.
Es por ello que queremos compartir con ustedes este homenaje a Alice Guy, para
contribuir al conocimiento de una artista fundamental, exhibiendo este ao la etapa
francesa de su filmografa, dejando para el 2018 (fecha en que celebraremos nuestros
primeros 25 aos) su etapa americana y as cerrar este trabajo de tres aos que inicia-
mos el ao pasado, inaugurando nuestro certamen con la musicalizacin en vivo de su
film Les rsultats du fminisme.
Tres aos que buscan luchar contra dcadas de olvido.
En tu nombre, Alice Guy, gracias por todo.
CINEASTAS INVITADOS 104 [24] FICVALDIVIA
ALICE GUY:
A PIONEER NEGLECTED
BY RAL CAMARGO
There is irrefutable evidence that La Fe aux Choux was made in April 1896. The impor-
tance of this fact is it happened before George Melies came on the scene, considered
the father of fiction (LArroseur arros by Louis and Auguste Lumiere is really a rea-
list narrative exercise, and the rest of their initial work was rather documentary). This
makes Alice Guy the creator of narrative fiction, the person to have the vision of telling
stories through cinema, in other words, the model that prevails to this day.
Then, why has her figure not been recognized in cinemas history as she deserves?
The fact that the first reason is obvious does not make it any less true: the film in-
dustry is also a reflection of society, and therefore, it is regrettably dominated by men.
Alice also suffered this, first at the hands of her boss, the almighty Leon Gaumont,
whom she convinced to let her make little pieces, when cinema was little more than
a technical novelty he only accepted on condition that she did not abandon her du-
ties as company secretary, that is, she would have to work double for the same salary.
Sound familiar? Then, it would be her husband, the camera operator Herbert Blach,
who would end up appropriating, as did many other men that worked with her, pieces
that were truly authored by Alice Guy.
A second reason, as shameful as the first, has been the absolute laziness of ci-
nematographic researchers and divulgers, who first didnt believe in Alice, when she
began a decades-long campaign to find her films, write her memoirs and defend her
legacy. Later, after she passed and when her importance became undeniable, they did
not write books, organize special seminars or screenings. Not even Gaumont honored
her, when the company turned 120 years old, leaving her name out of commemorative
acts, although Guy decidedly contributed to its success. Only honorable exceptions,
such as Alejandra Val, Alison McMahan, Nicole-Lise Berheim, Claire Clouzot, Marquise
Lepage, Emmanuelle Gaume, and her relatives Alice Guy Peteers and Rgine, Roberta
and Simone Blach have contributed to promote her work. It is not a coincidence they
are all women.
For this reason, it is fundamental that we rescue her figure, not only because she
was quasi-Chilean (her French parents lived in Chile, all her siblings were Chilean ex-
cept her, since her mother traveled when pregnant, to give birth to her in France, and
she later spent part of her childhood in our country). It is also crucial because a great
many things that constitute cinema (telling stories, using editing and camera tricks to
generate effects, utilizing color and sound, establishing roles during production and
even the logic behind super-productions) were developed by Alice Guy, who handled
direction, technique, art and production like no one before. Narratively speaking, not
only is she the creator of fiction cinema; she is also ahead of her time, as she added
a series of fundamental topics to her comic films, issues that sadly are still unsolved
today, such as womens rights, racial tolerance and equality, showing a political com-
mitment that makes her a revolutionary figure.
For all this, we want to share with you this tribute to Alice Guy, to contribute to
the diffusion of this fundamental artist, screening this year the French period of her
filmography, while leaving for 2018 (date when we will celebrate our 25th anniversary)
her American period, thus closing this three-year labor we began in 2016, opening that
edition of FICValdivia with the live musicalization of her film Les rsultats du fminis-
me.
Three years struggling against decades in oblivion.
In your name, Alice Guy, thanks for everything.
[24] FICVALDIVIA 105 TRIBUTES
LES CAMBRIOLEURS
La polica persigue a unos ladrones por los techos de la ciudad.
The police chases after burglars through the roofs of the city.
LA CONCIERGE
Unos nios se divierten tocando la campanilla de una pensin. El
siguiente visitante se llevar una sorpresa.
A group of children have fun ringing the bell at a hostel. The next
guest will be surprised.
LE FREDAINES DE PIERRETTE
Registro coloreado a mano que representa la danza de un
arlequn femenino y una Pierrette, la versin femenina del payaso
triste.
LA FE AUX CHOUX
La primera pieza de total y absoluta ficcin en la historia del cine,
el film cuenta el mito de que los nios nacen en los repollos.
The rst entirely ctional piece in cinema history, the lm tells the
myth that children are born inside cabbages.
LA CHARIT DU PRESTIDIGITATEUR
Un mago realiza un acto de magia que demuestra su generosidad.
A pregnant woman takes candy away from a girl. That will be the
rst of several cravings.
QUESTIONS INDISCRTES
Fonoescena en que el cantante Flix Mayol interpreta la cancin
Questions Indiscrtes.
LE MATELAS PILEPTIQUE
Un borracho entra en un colchn en reparaciones, generando
graciosos equvocos.
LE LIT ROULETTES
Un joven es desalojado por no poder pagar su arriendo. Slo
podr llevarse su cama rodante. Una vez en la calle, se acuesta y
empieza una carrera por las calles de la ciudad.
LA GLU
Un tarro de pegamento, un nio travieso y las vctimas de sus
bromas
LA COURSE A LA SAUCISSE
Un perro escapa con una salchicha. Mucha gente se suma a su
cacera.
A dog runs away with a sausage. Many people join the hunt.
SUR LA BARRICADE
Una salida a comprar leche y una barricada en el camino le
cambiar la vida a este joven.
An outing to buy milk and a barricade on the road will change the life
of this young man.
A small girl becomes the hero of the day, while jumping rope.
LE BILLET DE BANQUE
Un mendigo salva a una pareja de un asalto. Ellos lo recompensan
con un gran billete. All empiezan sus problemas.
A beggar saves a couple from getting mugged. They reward him with
a large bill. Thats when his troubles begin.
C: Agns Bertola
Gaumont Path Archives
24, rue du Dr Bauer, 93400 Saint Ouen, France
+01 49 48 15 06
abertola@gaumontpathearchives.com
1899 - 1981
LOTTE REINIGER
HOMENAJE TRIBUTE
HOMENAJE 114 [24] FICVALDIVIA
HNSEL Y GRETEL
Reino Unido 1954 11
EL SALTAMONTES Y LA HORMIGA
Reino Unido 1954 11
PULGARCITA
Reino Unido 1954 11
LA BELLA DURMIENTE
Reino Unido 1954 11
SE ACERCA LA NAVIDAD
Reino Unido 1949 1
AQU Y ALL
Reino Unido 1949 1
EL SECRETO DE LA MARQUESA
Alemania 1922 3
LA RUEDA RODANTE
Alemania 1934 14
EL CORAZN ROBADO
Alemania 1934 12
HOMENAJES 118 [24] FICVALDIVIA
The Doctor Doolittle trilogy is based on the eponymous EL DOCTOR DOOLITTLE Y SUS ANIMALES:
book, by writer Hugh Lofting. Meanwhile, DIE EL VIAJE A FRICA
GOLDENE GANS is based in a classic childrens story. Alemania 1928 12
Marys Birthday is one of her color pieces, one of the
few where the characters have dialogs. EL DOCTOR DOOLITTLE Y SUS ANIMALES:
EL PUENTE DE LOS MONOS
Alemania 1928 10
LA OCA DE ORO
Alemania 1947 12
EL CUMPLEAOS DE MARY
Alemania 1951 10
[24] FICVALDIVIA 119 TRIBUTES
ALEMANIA, 1926
LAS AVENTURAS DEL PRNCIPE ACHMED 66 // DIGITAL
A sorcerer offers the Caliph a miraculous horse that can fly, in exchange of
his daughter. So, begin Achmeds the adventures. In his rst stop, in the
Wak-Wak Island, he falls in love with princess Pari Banu, whom he carries
on his horse to far-away lands. Meanwhile, the sorcerer swears revenge: he
steals Pari Banu, offering her as a slave to the Chinese emperor. Achmed will
have to resort to a witchs help to save her Lotte Reiniger created the rst
animated feature in the history of cinema with copies still available.
1917 - 1961
MAYA DEREN
HOMENAJE TRIBUTE
HOMENAJE 122 [24] FICVALDIVIA
Working with dreams and visual trance as her raw materials, her
movies unfold their endings, escaping narrative and opening doors of
perception, while at the same time avoiding the surrealist symbolism
she has been linked with at times, probably in error. From early on, Deren
understood and defended the freedom and poetic and creative power of
visual language, freed from its more literary constraints; she focused her
life on the defense and promotion of a free form of cinema, and the camera
conceived as a creative tool. In her text An Anagram of Ideas on Art, Form,
and Film, published in 1946, and under the title The camera as a creative
medium, Deren asserts, Nothing can be accomplished in the art of
cinema, until its form is understood as the product of a completely unique
complex: the operation of an instrument that can work simultaneously as
a discovery and an invention. ()The camera provides the formal elements
and, even though it doesnt always do it, it can discover or create them, or
discover and create them simultaneously.
Dead too soon, at age 44, on October 13, 1961, due to a brain
hemorrhage, after a time in comma, Deren left part of her work unfinished,
in the form of unclosed pieces or image footage that someone attempted
to recompose after-the-fact. Although, seen from a distance, all her
cinema finished and unfinished plays with the idea of a temporal
circularity that prevents linear closing, running against the very idea of
a closed piece, of a completed narrative. Her pictures seem, in a way,
variations on the phrase by French poet Paul Valry: A poem is never
finished, but is simply abandoned.
HOMENAJES 124 [24] FICVALDIVIA
EEUU, 1943 14 // 16mm A large flower, the silhouette of a gure briskly walking away,
a house key, a bread knife, a telephone receiver resting off the
hook, and a spinning phonographic turntable dene the shifting
functional elements in Meshes of the Afternoon from which the
lms evolving, malleable construct the fragile and tenuously
interconnected mesh of actual and perceived reality is intriguingly
(and ingenuously) mapped.
AT LAND
At Land es otro de los filmes onricos de Maya Deren. El mensaje
y su principal objeto descansan en la idea de la mutabilidad de la
personalidad. Maya dijo un vez que esta pelcula fue hecha para
mostrar al pblico la lucha por mantener la identidad personal.
La cinta puede durar solo 15 minutos, pero en ella, toda una vida
se describe subjetivamente.
MEDITATION ON VIOLENCE
As como los movimientos especficos del boxeo chino son la
materializacin fsica de ciertos conceptos metafsicos, la cinta
Meditation on Violence es, en trminos flmicos, una expresin
de los mismos conceptos, empleando el movimiento fsico como
solo uno de los medios visuales.
CHILE, 1987
DE LAS ARMAS Y LAS LETRAS 45 // DIGITAL
C RICARDO CARRASCO
[@] farfanfilm@gmail.com
HOMENAJES 130 [24] FICVALDIVIA
CHILE, 1987-2007
NOSTALGIAS DEL FARWEST 25 // DIGITAL
C RICARDO CARRASCO
[@] farfanfilm@gmail.com
[24] FICVALDIVIA 131 TRIBUTES
CHILE, 1987
EN BUSCA DEL VIDEASTA PERDIDO O MISTER OFF 60 // DIGITAL
Y EL CASO DE LAS PAPAS LOCAS
D Rodrigo Maturana
In 1986, a video presented to the video art festival in the Chilean French
Institute was censured. Then Maturana imagined a thriller where people DIRECTOR
were looking for the lost videast whose name was Astica, come from Thimor
of Lemuria to show the Video Life, which runs counter to video art. To do so,
his friends would hire Mister Off, a private investigator that would solve the
case.
RODRIGO MATURANA
C RICARDO CARRASCO
[@] farfanfilm@gmail.com
HOMENAJES 132 [24] FICVALDIVIA
CHILE, 1987
EL SUEO DEL RATN EN LA SOPA 56 // DIGITAL
DIRECTOR
RODRIGO MATURANA
C RICARDO CARRASCO
[@] farfanfilm@gmail.com
1917 - 1961
CLAUDIO ARRAU
HOMENAJE TRIBUTE
HOMENAJES 134 [24] FICVALDIVIA
SOBRE LA PELCULA
SUEO DE AMOR
POR LUIS HORTA CANALES
Toward the end of the 20s, numerous Latin artists approached Hollywood
with the objective of trying their luck in sound films, a determining
technological innovation that established a new relationship between
audiences and the visual culture of the 20th century. Jos Bohr, who had
developed an extensive filmography in Punta Arenas since 1919, migrated
first to Argentina and later to the United States, to strike out as a tango
singer, a decision that would lead him to become the star in the first
sound film in Spanish, Sombras de Gloria (1930), which later earned him
an honorary Oscar in 1980.
Bohr made an artistic tour through Mexico in 1932, linking up with
local intellectuals that opened the doors for him to make the feature La
Sangre Manda (1933), whose quality not only positioned him as pioneer in
that countrys speaking films, but also it was a testimony of the extensive
career that would later allow him to have control over his scripts, in a
highly industrialized medium.
Already a reputed pianist, Claudio Arrau visited the Mexican capital
to offer a series of concerts, making a natural connection with Jos Bohr,
as they shared Chilean roots. In this context, the Sueo de Amor project
was established, a film that talks about the imaginary life of Franz Liszt
represented by the Chilean musician, making this his first foray into
cinema. Considered Franz Liszts foremost performer, Arrau deployed
all his skill and talent in what would become his first audiovisual record,
at the dawn of sound films. Honorary Doctor from Universidad de Chile
(1949) and recipient of Chiles National Arts Award (1983), Claudio Arrau
is considered one of the most world-renowned national artists, a master
performer and a cultural ambassador for our country.
The film constitutes a discovery, a historic document, that allows us
to appreciate the value of Arraus performance talent, and also the role
that audiovisual patrimony plays as a cultural vehicle. After making this
picture, Bohr returned to Chile in 1942, becoming a driving force for the
fledgling local industry, making films such as La Dama de las Camelias
(1947, restored in 1992) and Flor del Carmen (1944, restored in 2012),
both recognized for their great historical value.
Sueo de Amor was considered lost. Addressed only partially in the
official historiography of Mexican cinema, due to the participation of
mostly Chilean artists, seen today, it presents a great value for Chilean
cultural heritage. Present in it is its worth as a quality archive, helping
to construct a relevant historicity to propose novel perspectives about
Chilean art and the potential for artistic education through our audiovisual
patrimony.
HOMENAJES 136 [24] FICVALDIVIA
MXICO, 1935
SUEO DE AMOR 70 // DIGITAL
This patrimonial and historic lm, restored by the Universidad de Chile M Franz Liszt
Film Archive, is the rst audiovisual document featuring national pianist
I Claudio Arrau, Manuel Buenda,
Claudio Arrau. This period record was made by Jos Bohr, the most prolic
Carmen Conde, Elena DOrgaz,
lmmaker in the history of cinema made in Chile. The famous Chilean pianist
appears playing a piece by composer Franz Liszt, portraying moments in his Josefina Escobedo, Consuelo
biography. Frank, Pilar Mata, Irene
Godofredo de Velasco
DIRECTOR
JOS BOHR
VCTOR JARA
HOMENAJE TRIBUTE
HOMENAJES 138 [24] FICVALDIVIA
VCTOR JARA:
PRESENTE
POR RAL CAMARGO
VCTOR JARA:
PRESENT
BY RAL CAMARGO
Four days before the Coup, they asked Vctor, what is homeland?
He answered:
Homeland is the love for my home, my wife and children. It is the love
for the land that has helped me live; it is the love for education and work;
it is love for others that work for the common good; it is love for justice as a
balance instrument for human dignity; it the love for peace to enjoy life; it
is the love for freedom, not for free will, not for the freedom of some to live
from others, but freedom for everyone. The freedom for me to exist, and
for my children to exist, and my home and my neighborhood and my city
and the towns and all the nooks where we have had to forge our destiny.
Without yokes, both our own and foreign.
Vctor Jara is, together with Violeta Parra and Jorge Gonzlez,
the most important singer-songwriter in Chilean history. An icon of
the committed artist, he knew how to represent the mood of his time,
composing emblematic songs that synthesize that yearning for social
change, putting the working class and the working family at the forefront.
His music expressed, better than no one, the need to vindicate the
laborer, over the figure of the boss, the landowner and the powerful. This
made him dangerous, and then a martyr, when he was vilely murdered
by the military dictatorship, in that bloody September 1973. However, his
executioners could not silence his voice, which multiplied, despite the
culture of death Pinochets regime had installed. Fundamental in keeping
her legacy alive has been, and continues to be, his partner Joan Jara,
strengthening Vctors image around the world, while herself becoming an
important activist in the struggle to recover democracy.
50 years after the Chilean agrarian reform, it is an obligation for our
festival to commemorate the man whose work appropriated that old
maxim that the land is for he who works it. But this special program
is not just in his name; it is also in recognition to Joans tireless work,
which you can see in Compaero: Vctor Jara of Chile, the film we have
chosen together with the Vctor Jara Foundation, to pay this tribute, small
compared to both their greatness. Joan Jara will be present in Valdivia, to
accompany the screening of this movie about her and her beloved Vctor,
whose words and song resound even to this day:
Here brother, here on the ground, our soul becomes full of flags that
move forward, against fear,
Move forward, against fear; we shall win, we shall win.
HOMENAJES 140 [24] FICVALDIVIA
DIRECTORES
STANLEY FORMAN
MARTIN SMITH
Stanley Forman (Reino Unido,
1921-2013)
1975 Compaero: Victor Jara of
Chile
C(Reino Unido)
1975 Compaero: Victor Jara of
Chile
1975 Two deaths of Adolf Hitler
1991 Purple triangles
1967
50 AOS WAVELENGTH
HOMENAJE TRIBUTE
HOMENAJES 142 [24] FICVALDIVIA
WAVELENGTH 50 AOS
WAVELENGTH 50 YEARS
BY UDO JACOBSEN
It is never easy to speak about a seminal work, especially fifty years later,
particularly when it is experimental cinema. According to P. Adam Sitney,
Wavelength (1967) inaugurated the current that came to be known as
structural film. Some of the procedures Sitney characterized as recog-
nizable in these films are rephotography, the flicker effect, looping and
placing the camera in a fixed position. The present work by Michael Snow
makes use of this last procedure. We understand this trend is formal in
character, centering its strategies in focusing on one or two resources, in
discovering the potential in each code, through its radical use. It is hard to
value the programmatic dimension in Michael Snows gesture. The movie
is a true manifesto that calls into question the narrative function of cine-
ma in a way that is more explicit than the avant-garde movements of the
1920s and later experimental abstract cinema. The movie presents ac-
tions and anecdotes the camera pierces through, while ignoring them, to
center on its own production mechanics. The wavelength, captured both
in sound and movement, but also metaphorically in the image, constitutes
a programmatic construct that projects itself into Snows following wor-
ks, but also in other filmmakers that travel the same path, such as Ernie
Gehr, George Landow and even David Rimmer, and in more contemporary
directors like Peter Tscherkassky, as well. In this sense, Snows influen-
ce is remarkable in the experimental field, and likewise in others like vi-
deo clips and, through this one, in a large portion of fiction cinema since
1980s. The role of the spectator, on the other hand, is questioned in its
purely receptive position. It is not possible to participate from regulated
pleasure in a film with these characteristics. Particularly during its se-
cond part, the spectator discovers their position and must deal with it.
It is precisely in this moment that Wavelength unfolds its entire radical
subversive potential.
HOMENAJES 144 [24] FICVALDIVIA
Amy Yadrin
POR UDO JACOBSEN
DIRECTOR
Wavelength privilegia un punto de vista desde el que se observan las acciones
que suceden en un espacio cerrado. Articulada sobre el acercamiento
a travs de un zoom hacia la pared contraria, el lme de Michael Snow es
una suerte de maniesto antinarrativo. Sin embargo, a pesar de la aparente
simplicidad del procedimiento, es una pelcula compleja, que lucha contra
la perfeccin supuestamente esperada del movimiento y que interrumpe el
espacio sonoro inicialmente referencial para presentar este acercamiento,
justamente, como una longitud de onda.
MICHAEL SNOW
BY UDO JACOBSEN
Michael Snow (Canad, 1929)
2008 Puccini conservato
2002 Corpus Callosum
1991 To Lavoisier, Who Died in the
Reign of Terror
1983 So Is This
1981 Presents
1971 La rgion centrale
1967 Wavelength
The 60s were shaken not only by violent and political cinema in Japan, but
also from the avant-garde, where new authors began to forge what would
become one of the most active scenes in the world. The preoccupation for
the mechanisms in film, the spatial-temporal construction as a kind of
confinement, the censorship of the body and the structuring of daily life
were some of the concerns that arose then. From surrealism, to a kind of
structuralism, different currents cross over the movement. In Onan (1964)
by Takahiko Iimura, a teenager masturbates to erotic magazines, banned
at the time; later, he wakes up having birthed an egg. The strange tale
that would be the foundation for the movement established a difficult
relationship between the avant-garde and Japanese traditionalism,
where the government particularly censored pubic hair and nudity.
The awareness of the mechanisms that make up a spatial-temporal
editing would become one of the core concepts in the new movement.
This is evident in Iimuras series, especially in Timed 1,2,3 (1972), but also
in the spatial experiments in Xnognse (1983) by Akihiro Morishita. In
Spacy (1981), Takashi Ito expands this exploration, establishing one of the
movements cinematographic landmarks. The kinetic strength in his films
and his structural fixations will have a clear progression, making up an
electric and oppressive body of work. In the 80s, there will also be a turn
toward the personal, where filmmakers explore contemporary Japanese
society through a reinterpretation of the subject and its relationship with
the public/private realms. It will be this way with Kohei Andos films,
featuring personal diaries, collections and time stopping in familiar
fragments, as in the triptych Like a Passing Train. In his shorts, small
daily gestures, like the place where his friends live, or the view from his
house towards the passing trains, will become testimonials of a time that
passes inexorably over the city.
[24] FICVALDIVIA 149 TRIBUTES
SPACY
Una cinta cuyo sujeto es el lugar (un gimnasio), el tiempo (los 10
minutos que dura el film) y la incongruencia entre la realidad (el
gimnasio) y la ilusin (la representacin del gimnasio): Todos los
componentes son combinados estrictamente en un ciclo sin fin,
una banda de Mbius, una pelcula de Escher en tempo japons,
de lento a rpido, de piansimo a fortsimo.
DRILL
El rodaje de la entrada al dormitorio de la compaa donde vive
el cineasta: Centrando el film en un pilar, envuelve los espacios a
la derecha e izquierda, creando un espacio inestable similar a un
cuadro que emplea anamorfosis. Hecho de la misma forma que
Spacy y Box, con un gran nmero de fotos, la pelcula termina con
un movimiento violento, pero es potico por ello.
APPARATUS M
Creada para la exposicin de 1996 de Yasumasa Morimura en el
Museo de Arte de Yokohama, filmado con Morimura de modelo,
vestida como Marilyn Monroe en La comezn del 7 ao, una
representacin visual de lo que evocan las palabras Morimura,
Marilyn, actriz, disfraz, display, sexo y muerte
THUNDER
Podemos pensar en esta pelcula como hecha basada en el
esquema unificado producido por el extender capas de un nmero
de ejes de sistemas semiticos. Como el cuadro es la unidad
bsica y el film est compuesto al disear una acumulacin de
smbolos que representan reacciones a la vista y programarlos en
el tiempo de este, lo podemos llamar una especie de filme-juego.
THE MOON
Hace mucho tiempo, yo sola soar con el sorprendente y mstico
paisaje que aparece a la luz de la luna. Parajes irracionales
y espacios llenos de innombrables placeres, como un objeto
negro que gira lentamente, mientras vuela sobre las nubes
desperdigadas que flotan in el cielo nocturno, sus formas
iluminadas por la luz lunar.
A long time ago, I would often dream of the uncanny and mystical
landscape that appears in moonlight. Irrational landscapes and
spaces lled with unspeakable pleasures, like a black object that
JAPN, 1994 5 // 16MM revolves slowly, while flying over the scattered clouds that float in
the night sky, their lumps illuminated by the light of the moon.
KYOSUKE KUROKO
Daguerreo Press, Inc
2-10-2, Shibuya, Shibuya-ku; Tokio 150-0002;
Japn
[@] krk@imageforum.co.jp
[t] +81 3 5766 1119
[24] FICVALDIVIA 151 TRIBUTES
MY COLLECTIONS
Memoria y reencarnacin: El catlogo y la antologa son partes
esenciales del trabajo de Ando. Sus recuerdos estn montados en
un auto-retrato oblicuo. Ando explora su habitacin y admite que
los artculos que ama corresponden a una imagen de s mismo.
Sugiere que los objetos, una vez adquiridos, se transforman.
Estn asociados a recuerdos y pueden ser yuxtapuestos.
The same space but the changing feeling from Like a Passing Train
1. Time makes me change.
CHRISTOPHE BICHON
Lightcone
[@] christophe.bichon@lightcone.org
www.lightcone.org
[24] FICVALDIVIA 153 TRIBUTES
ONAN
Esta es la historia de un joven que hace agujeros en fotos de
desnudos con un palo caliente y despus da a luz a un gran
huevo plstico. Onan es un trabajo sobre el deseo (masturbacin)
que no tiene objeto ms que s mismo. La aparicin del huevo
despersonaliza los deseos del hombre. Despus de colisionar con
el otro (una chica), el hroe cae mientras an sostiene el huevo,
caricaturizando su deseo.
ON EYE RAPE
La cinta original fue rescatada de un basurero en Tokio, un filme
americano sobre educacin sexual, donde se explica el sexo
de plantas y animales. Junto con una amiga artista, Natsuyuki
Nakanishi, hicimos perforaciones en casi todos los cuadros,
en protesta contra la censura japonesa de imgenes sexuales
explcitas. Insert unos pocos cuadros subliminales de imgenes
pornogrficas de revistas en varios lugares de la pelcula. Al final,
hasta perfor las fotos subliminales, as censurando la imagen
censurada.
TIMED 1,2,3
Visualmente, cada seccin de esta pelcula est compuesta
de segmentos de 10 segundos de gua transparente y oscura,
dispuestos progresivamente, de manera que al principio hay
ms luz y menor oscuridad y despus viceversa. Durante Timed
1, el sonido de un bip raspado directamente en la banda
sonora suena cada segundo; en Timed 2, el sonido se escucha
cada 10 segundos; finalmente, en Timed 3, se escucha cada 100
segundos, o sea, en la mitad y al final
XENOGNSE
Un enfoque sobre la dualidad del cine: El cineasta camina en
crculos y confunde esta dualidad, mientras aparecen rasguos
verticales sobre la imagen. Utiliza tcticas del trampantojo para
aludir cmicamente a la naturaleza circular de la vida humana y,
como auto-retrato del artista, se burla dulcemente del gnero de
pelculas caseras.
GESA KNOLLE
Arsenal Distribution
Potsdamer Str. 2; 10785 Berln; Alemania
[t] +49 30 26 955 158
[@] gk@arsenal-berlin.de
www.arsenal-berlin.de
HOMENAJES 130 [24] FICVALDIVIA
ESPADAS VOLADORAS:
EL WUXIA TAIWANS
POR JAIME GRIJALBA
FLYING SWORDS:
TAIWANESE WUXIA
BY JAIME GRIJALBA
Wuxia means martial heroes in Chienese and it is a literary genre with over
2000 years in existence, where characters with different abilities face
each other. The difference with any other action narrative is these people
usually possess skills beyond human capabilities, such as jumping
impossible heights, flying, killing with just one hit, or any other super
power, which nowadays may seem familiar.
Wuxia cinema accomplishes its first jump into the mainstream with the
film Come Drink with Me (1966), made in Hong Kong by Chinese director
King Hu, for producers Shaw Brothers, which a short while ago had made
the jump from musicals to action films.
The phenomenon unleashed by this movie, both in terms of audience and
critics, drove Kong to break free from the Shaws, to take the idea and build
a new filmic empire in Taiwan, where he made his masterpiece: Dragon
Inn (1967), about the face-off between the emperors eunuch and general
Yus sons, in a small hostel on the road to the border with China, where the
young men were going to find peace.
This how Taiwan also felt the inspiration from this metaphoric form in King
Hus work, and at the same time, revived a cinematographic industry that
during the rest of the 60s and 70s would make even more Wuxia titles,
portraying part of that rich Chinese cultural heritage. Thus, through flying
kicks, swordfights and the unbreakable ethics code of its characters,
Taiwanese cinema seeks to manifest a distinctive seal, which we hope
will shine through in this special program.
[24] FICVALDIVIA 159 TRIBUTES
TAIWN, 1967
DRAGON INN 111 // DCP
KING HU
TAIWN, 1968
THE SWORDSMAN OF ALL SWORDSMEN 85 // DCP
Para robar una espada legendaria, Yun Chung-Chun ataca la casa del
D Joseph Kuo
anciano maestro espadachn Chang Shan-Gong, matando a todos menos
su hijo, Tsai Ying-Jie. 18 aos despus, Tsai Ying-Jie, un maestro de G Tien-Yung Hsu, Shui-Han Chiang
la espada por derecho propio, inicia un viaje de venganza, pero al ser P L.S. Chang
envenenado, los salva la guerrera Golondrina Blanca. l descubre que ella
F Tsan-Ting Lin
es realmente la hija de Yun Chung-Chun, que busca al hijo de Chang Shan-
Gong para reparar los pecados del padre. Ante esta vuelta del destino, Tsai S Ping Wong, Hsieh Ping Yin
Ying-Jie vengar a su padre o repagar a Golondrina Blanca por salvarle I Tien Peng, Lingfeng Shangguan
la vida
JOSEPH KUO
C
[24] FICVALDIVIA 161 TRIBUTES
TAIWN, 1969
IRON MISTRESS 88 // DCP
TAIWN, 1970
A CITY CALLED DRAGON 90 // DCP
TAIWN, 1970
THE GRAND PASSION 85 // DCP
Chun Shih
General Yue Fei sends rebel soldier Zheng Yun to inltrate the enemy base
of Damingfu, his mission: to deliver a secret list to the Mount Taihang rebels,
so the two armies can consolidate their forces and retake the Central Plains.
DIRECTOR
Unknown to the rebels, the commander at Damingfu has already been tipped
off; Zheng Yun dies, leaving Lu Liu and his sister Lu Xiao-Ling as the rebels SHIH-CHING YANG
last hope of completing the mission. Can the siblings emerge from this battle
of wits and successfully deliver the list to Mount Taihang? Shih-Ching Yang (China)
1973 Gui mian ren
1972 A Girl Fighter
1971 Panji tengkorak
1970 The Grand Passion
1966 Lang tao sha
C
HOMENAJES 164 [24] FICVALDIVIA
TAIWN, 1971
THE FLY DRAGON MOUNTAIN 85 // DCP
16 NOTES ON GIALLO
BY JAIME GRIJALBA
ITALIA, 1964
LA MUCHACHA QUE SABA DEMASIADO 83 // 16MM
Prosperi
P Massimo De Rita
E Mario Sarandrei
M Roberto Nicolosi
Valentina Cortese
DIRECTOR
MARIO BAVA
ITALIA, 1972
TODOS LOS COLORES DE LA OSCURIDAD 94 // 16MM
DIRECTOR
SERGIO MARTINO
ITALIA, 1982
TENEBRE 101 // 35MM
Pignatelli
I Anthony Franciosa, John Saxon
DIRECTOR
DARIO ARGENTO
ITALIA, 1984
ROCK DE SANGRE 93 // 35MM
DIRECTOR
LUCIO FULCI
ITALIA, 1986
MORIRS A MEDIANOCHE 98 // 35MM
DIRECTOR
LAMBERTO BAVA
Las ltimas pelculas de los grandes maestros del cine mundial, esta
muestra rene a los cineastas de mayor prestigio del circuito de festivales
para ofrecerlos en exclusiva en Valdivia.
The latest movies by the great masters in world cinema, this program brings
together the most prestigious lmmakers in the international festival cir-
cuit, to offer them exclusively in Valdivia.
[24] FICVALDIVIA 177 CONTEMPORARY CINEMA PROGRAM
unos viejos amigos: todo es incmodo. Acta indiferente, luego cruel, S Kim Mir
pero a ellos les gusta. Sola, Younghee va a la playa, donde el interior de su I Kim Minhee, Seo Younghwa, Kwon
corazn se manifiesta y desaparece como la neblina. Cun importante es
Haehyo, Jung Jaeyoung, Song
el amor en la vida de uno? Younghee quiere saber.
Seonmi, Moon Sungkeun
Younghee, stressed by an affair with a married man in Korea, has given
up everything, the least courtesy she can show her sincere heart. He said DIRECTOR
hell join her, but she mistrusts. She asks her friend, whom she thinks
doesnt understand: Is he missing me now, like I miss him? Korea; A
few old friends: things are awkward. She acts aloof, then cruel, but they
like it. Alone, Younghee goes to the beach, where things inside her heart
manifest themselves, then fade like mist. How important is love in ones life?
Younghee wants to know.
HONG SANG-SOO
wife nds a love note, bursts into the ofce, and mistakes Areum for the
woman who left.
DIRECTOR
HONG SANG-SOO
CLAIRES CAMERA D, G
En viaje de negocios al Festival de Cannes, Manhee es acusada de ser Hong Sang-soo
deshonesta y es despedida. Una maestra llamada Claire pasea, tomando F Lee Jinkeun
fotos con una Polaroid. Conoce a Manhee y la comprende. Claire puede ver Hahm Sungwon
E
los futuros posibles y vidas pasadas de Manhee, a travs del misterioso
S Kim Mir
poder de un tnel en la playa. En el tomar fotos, Claire ha adquirido la
M Dalpalan
habilidad de ver las cosas lentamente y de transformar objetos. Ahora
I Isabelle Huppert, Kim Minhee,
Claire va con Manhee al caf donde las despidieron. Anticipamos ver los
poderes de Claire en accin. Chang Mihee, Jung Jinyoung, Yoon
Heesun, Lee Wanmin, Kang Taeu
On a business trip to the Cannes Film Festival, Manhee is accused of being
dishonest, and red. A teacher named Claire goes around taking photos DIRECTOR
with a Polaroid camera. She gets to know Manhee and sympathizes with
her. Claire can see Manhees possible future and past selves, through the
mysterious power of the beach tunnel. In taking photos, Claire has acquired
the ability to look slowly at things, and to transform objects. Now, Claire goes
with Manhee to the caf where she was red. We look forward to seeing
Claires power at work.
HONG SANG-SOO
WESTERN D, G
Un grupo de obreros alemanes comienzan un duro trabajo en un lugar Valeska Grisebach
remoto del campo blgaro. La tierra extranjera despierta en los hombres P Jonas Dornbach, Janine
el sentido de aventura, pero tambin confrontan su propio prejuicio y
Jackowski, Maren Ade, Valeska
desconfianza, debido a la barrera del lenguaje y las diferencias culturales.
El escenario queda dispuesto rpidamente para un enfrentamiento, Grisebach, Michel Merkt
cuando los hombres deciden competir por el reconocimiento y los favores F Bernhard Keller
de los aldeanos locales. E Bettina Bhler
I Meinhard Neumann, Reinhardt
A group of German construction workersstarta tough jobat a remote site
Wetrek, Syuleyman Alilov
in the Bulgarian countryside. The foreign land awakens the mens sense
of adventure, but they are also confronted with their own prejudice and Letifov, Veneta Frangipova,
mistrust due to the language barrier and cultural differences. The stage is Viara Borisova
quickly set for a showdown when men begin to compete for recognition and
favor from the local villagers. DIRECTORA
VALESKA GRISEBACH
M M: Jean-Louis Aubert
Caravaca
DIRECTOR
PHILIPPE GARREL
Isabelle, divorced with one child, searches for love. At last, a real love. F Agns Godard
E Guy Lecorne
M Stuart A. Staples
Nicolas Duvauchelle
DIRECTORA
CLAIRE DENIS
9 DOIGTS D, G
Durante la noche, Magloire fuma en una estacin ferroviaria abandonada, F.J. Ossang
cuando la polica llega a controlar su identidad. Comienza a huir, sin
P Sbastien Haguenauer
equipaje, sin futuro, hasta que conoce a un moribundo que le deja una
E Walter Mauriot
fortuna. A Magloire lo persigue una pandilla ahora. Se transforma en su
rehn y, en su cmplice tambin, pues no tiene nada que perder. Como S Julien Cloquet
alguien a quien todo le resulta, alguien sin expectativas M Jack Belsen, M.K.B. Fraction
Pro
In the middle of the night, Magloire is smoking in an abandoned train
station when the police show up for an ID check. He starts running with I Paul Hamy, Damien Bonnard,
no luggage, no future, until he meets a dying man from whom he inherits a Pascal Greggory, Gaspar Ulliel
fortune. Magloire is now pursued by a gang. He becomes their hostage, and
accomplice too, as he doesnt have anything to lose. Like someone who gets DIRECTOR
away with everything, someone with no expectations
F.J. OSSANG
Director Gaspard Bazin is preparing a new feature lm. For now, he is still in Arvo Prt, Janis Joplin, Joni
the casting and nancing stages. Jean Almereyda, his producer, has more
Mitchell, Bla Bartk
and more difculties to raise cash for his company. His wife, Eurydice,
I Jean-Pierre Mocky, Marie
dreams of being a movie star. Between the two men, a perverse game is
starting: Almereyda wishes to please his wife, but the Bazins unrepentant Valera, Jean-Pierre Laud
seducers reputation keeps him from requiring a part for Eurydice
DIRECTOR
JEAN-LUC GODARD
E M. Schverdfinger, K. Harley
Zama, an ofcer of the Spanish Crown born in South America, waits for a
S Guido Berenblum, Emmanuel
letter from the king granting him a transfer from the town in which he is
stagnating, to a better place. His situation is delicate. He must ensure that Croset
nothing overshadows his transfer. He is forced to accept submissively every I Daniel Gimnez Cacho, Lola
task entrusted to him by successive governors who come and go as he stays Dueas, Matheus Nachtergaele,
behind. The years go by and the letter from the king never arrives. When
Juan Minujn
Zama notices everything is lost, he joins a party of soldiers that go after a
dangerous bandit.
DIRECTORA
LUCRECIA MARTEL
The avant-garde movies, the experimental flicks that dare explore the new
possibilities in cinema, dialoguing with the past, and projecting the future of
this artistic discipline.
[24] FICVALDIVIA 187 NEW PATHWAYS
GOOD LUCK D, G, F
Filmada en Super 16mm, Good Luck (Buena Suerte) es un retrato de dos Ben Russell
comunidades mineras que operan en lados opuestos de un mundo hostil:
G KinoElektron, CaSk Film
los empleados estatales de una mina de cobre en Serbia, a 400 metros de
profundidad, y los trabajadores de una mina ilegal de oro en los trpicos E Ben Russel, Maja Tennstedt
BEN RUSSELL
OUROBOROS D, G, E
Un homenaje a la Franja de Gaza, basado en el eterno retorno: Un viaje Basma Alsharif
que sigue a un hombre a travs de 5 paisajes diferentes, marca el final P Momento!, Ida.Ida, Idioms Film,
como el comienzo, el olvido como una manera de avanzar y el fracaso de Galerie Imane Fares, Luna Blue
la civilizacin. Film
F Ben Russell
An homage to the Gaza Strip, based on the eternal return: A journey following S Federico Chiari, Matthieu Deniau
one man through ve different landscapes marks the end as the beginning, Yann Gourdon, Bunny People
forgetting as the way forward, and the failure of civilization.
M Diego Marcon, Neemah Abu Ghena,
I Jessica Bellinger, Coleman
Collins, Bo Gallerito, Yann
Gourdon, Claire de Pimodan,
Joseph Valdez, Lauren Stromberg,
Sky Hopinka
DIRECTORA
BASMA ALSHARIF
Basma Alsharif (Kuwait, 1983)
2014 Deep Sleep
2014 Girls Only
2013 Home Movies Gaza
C MOMENTO DISTRIBUTION SAMIA LABIDI
2012 Farther than the Eye Can See
20 rue du Dupont de lEure - [@] samia@momento-films.com
75020 Paris - France momento-films.com 2011 The Story of Milk and Honey
facebook.com/OuroborosFilm
[t] +33 6 59 01 64 25
[24] FICVALDIVIA 189 NEW PATHWAYS
NUEVOS Jodie
CAMINOS Mack
A eulogy for wasted potential sends the out of date to the out of
body: trash to treasure. An appetite for destruction charts the
product life cycle, interrupting the horizon through an intersection
of perspectives.
ESTADOS UNIDOS, 2017 4 // DCP
SOMETHING BETWEEN US
Un estudio coreografiado del movimiento, para baratijas brillan-
tes, chucheras radiantes y destellos deslumbrantes; un ballet
en llamas (para bisutera alegre y asombrosa llevada a la ebu-
llicin): La joyera de vestuario y las maravillas naturales unen
fuerzas para ejecutar piruetas plsticas, danzando un lamento
luminoso hasta que llega la marea.
Brown and Clear: bourbon and vodka are the only choices in this
particular establishment.
SILICA
Un locacionista inadvertidamente explora un pueblo de mineros
de palo en el sur de Australia, en este filme ensayo con tintes
de ciencia ficcin, que encuentra, en esta regin semi-desrtica,
rastros de cultura indgena y restos de la historia del cine.
D Pia Borg
[24] FICVALDIVIA 191 NEW PATHWAYS
FARPES BALDIOS
Al final del siglo XIX, los campesinos de Portugal comenzaron una
lucha valiente por mejorar sus condiciones de trabajo. Despus
de generaciones de miseria y hambruna, la Revolucin de los
Claveles sembr la semilla de Reforma agraria. Sobre todo en
la regin de Alentejo, estos trabajadores del campo se tomaron
grandes propiedades, donde otrora se sometieron al poder de sus
amos. Tal vez la semilla perdida de otros frutos
PORTUGAL, 2017 25 // DCP At the end of the 19th century, the peasants in Portugal started a
courageous struggle for better work conditions. After generations
of starving misery, the Carnation Revolution sowed the promise
D Marta Mateus
of an Agrarian Reform. Mostly in the Alentejo region, these rural
workers occupied the huge properties where they were once
submitted to the power of their Masters. Perhaps the lost seed of
other fruits...
LA BOUCHE
Un hombre se entera que su hija ha sido asesinada brutalmente
por su marido. El tiempo se detiene, mientras l oscila entre la
necesidad de consuelo y la urgencia de la venganza. Este musical
cuenta con la participacin del maestro guineano de la percusin
Mohamed Demonio Rojo Bangoura y est basado libremente en
su historia.
ALEMANIA, 2016 12 // 35MM The lm is an invitation to think about the spaces where history and cultural
production are preserved for future generations. It juxtaposes archive images
D Rosa Barba of cultural and of industrial production with a study of rhythm. It recovers the
sonic memory featured in the archives, mixing it in the soundtrack to set in
motion otherwise unlikely dialogues. The audio-visual narration of space reveals
a predilection for uprooting places from their pragmatic circumstance, to suspend
them in a vague temporality, between retro-futurism and science ction.
NUEVOS CAMINOS 192 [24] FICVALDIVIA
ARMAGEDDON 2
El servicio de internet en Cuba es muy lento. Pelculas, televisin
e informacin son intercambiadas a travs de un sistema de
mercado negro de distribucin de medios, por medio de discos
duros externos conocidos como el paquete semanal.
D Corey Hughes
D Loukianos Moshonas
IDIZWADIDIZ
Dos amigas salen a caminar. Es lo que es.
D Isiah Medina
[24] FICVALDIVIA 193 NEW PATHWAYS
After the screening at Athens (In Mute Festival 2015), I had an important
JAPN, 2017 26 // DCP conversation about Aristotle with an old lady from the audience. We talked
about the materiality of cinema. We also talked about the construction of
cinema itself already having a similarity with life and time. Cinema never exists.
D Makino Takashi People just keep doing Generation and Corruption. The situation is also similar
with the construction of life and civilization. Then, I decided to shoot this
lm. All the images were shot in Japan. Image will continue to disappear and
reappear, like an innity loop.
PLUS ULTRA
Plus Ultra es el lema del Estado Espaol. Este slogan fue utilizado
para incentivar a los navegadores a conquistar nuevas tierras,
ignorando la advertencia en la mitologa griega: Non terrae plus
ultra (No hay tierras ms all). Las Islas Canarias lugar de
ensayo de las tcticas utilizadas en la colonizacin de Amrica
se vuelven el escenario para una historia sobre esta tierra.
Plus Ultra is the motto of the Spanish state. This slogan was used to
ESPAA, 2017 13 // DCP encourage navigators to conquer new lands, forgetting the warning
from Greek mythology: Non Terrae Plus Ultra (There is no land
D Samuel M. Delgado - Helena Girn beyond here). The Canary Islands testing ground for the tactics
utilized in the colonization of the Americas becomes the setting
for a tale about this land.
[24] FICVALDIVIA 194 NEW PATHWAYS
D Rafael Ramrez
URTH
La ltima mujer sobre la Tierra: Filmada dentro de Bisfera 2 en
Arizona, Urth es una meditacin cinemtica sobre experimentos
ambiciosos, ambientes construdos y visiones del futuro. La
pelcula considera que significara hoy en da y en el futuro
cercano un esfuerzo como Bisfera 2, en trminos de la relacin
entre la humanidad y el mundo natural.
PHANTASIESTZE
Hace aos, las ciudades cerca del ro fueron asoladas por un
contagio. Las cosas empezaron a cambiar y todo se volvi otra
cosa. Esta transformacin, era sntoma de la enfermedad o
una manera de escaparla? El contagio toc todo: animales,
plantas, hombres, mujeres y nios, sus pensamientos, sueos
y recuerdos. Una anciana me dijo que los recuerdos se vuelven
rboles. Ella los escuchaba cantar: ser un cuerpo, ser cualquier
cuerpo. Despus del fin de aos de contagio, las ciudades
parecan intactas. Si uno pudiera escuchar a los rboles, qu
ALEMANIA, DINAMARCA 2017 17 // DCP
diran?
D Dane Komljen
Years ago, cities by the river were gripped by a contagion. Things
started to change and everything became something else. Was
this transformation a symptom of the disease or a way to escape
it? The contagion touched everything: animals and plants, men,
women and children, their thoughts, dreams and memories. An old
woman told me all memories turn into trees. She could hear the
trees singing: To be a body, to be any body. After years of contagion
ended, the cities seemed untouched. If one could listen to the
trees, what would they say?
DISIDENCIAS
DISSIDENTS
The contingent views on the political, economic, social, religious and envi-
ronmental processes that allow us to generate a debate and reflection about
the world we are building.
DISIDENCIAS 198 [24] FICVALDIVIA
DIRECTOR
In 1946, S.E. Branch a white Southern racist, and the artists great-
grandfather murdered Bill Spann, a black man, in rural Alabama. The
murder has become hushed and hidden family lore. When Wilkerson sets out
to unravel the mystery, he encounters obstacle upon obstacle destroyed
records, everyone refusing to talk. Hes accused of bringing shame upon
the family, shaking up old trouble nobody wants. Soon enough, his life is
threatened too.
TRAVIS WILKERSON
C TRAVIS WILKERSON
[@] exlow@mac.com
[t] +1 213 200 5349
traviswilkersonfilms.com
[24] FICVALDIVIA 199 DISSIDENTS
Acoury
In her directorial debut, Mary Jirmanus Saba deals with a forgotten revolution,
saving from oblivion bloodily suppressed strikes at Lebanese tobacco and
DIRECTOR
chocolate factories. These events from the 1970s, which held the promise
of a popular revolution and, with it, of womens emancipation, were erased
from collective memory by the countrys civil wars. Rich in archival footage
from Lebanons militant cinema tradition, the lm reconstructs the spirit of
that revolt, asking of the past how we might transform the present.
LA PELCULA DE MANUEL D, G, E, S
Manuel se gana la vida en la changa, es un jornalero, un obrero autnomo; Lucas Damino, Sebastin
sin embargo, vive del arte porque en el arte respira. Mientras un par de
Menegaz
cineastas filman un documental sobre sus das, Manuel va imaginando su
propia pelcula. P Lucas Damino
LUCAS DAMINO
SEBASTIN MENEGAZ
Lucas Damino, Sebastin
Menegaz (Argentina, 1981)
2009 La ta Mima
C LUCAS DAMINO
[@] lucasezedamino@hotmail.com
sebamenegaz@yahoo.com
[t] +11 351 15 683 3598
[24] FICVALDIVIA 201 DISSIDENTS
VIVRE RICHE D, G, S
En Abiyn, Costa de Marfil, en plena mutacin social, descubrimos una G Jol Akafou
juventud con falta de referentes debido a las recientes crisis polticas y P Faissol Gnonlonfin, Florent
econmicas sufridas por el pas. Seguimos a Rolex, el Portugus, y sus
Coulon, Berni Goldblat,
amigos en sus vidas cotidianas, marcadas por la estafa y el comercio ilegal
para sobrevivir. Ellos nos introducen en las noches de locura de Abiyn Christine Pirreaux
y en sus vidas agitadas, jvenes con edades entre 15 y 25 aos, que se F Dieudo Hamadi
desenvuelven entre estafa, sexo, alcohol, fetichismo y sacrificio. Para
E Magali Lefay
ellos, estafar a los europeos significa cobrarles la deuda colonial.
JOL AKAFOU
SEORITA MARA D, G, F
Boavita es un pueblo campesino, conservador y catlico, incrustado en G Rubn Mendoza
los Andes, detenido en el tiempo. En las faldas de sus montaas vive la
P Amanda Sarmiento
Seorita Mara. Tiene 45 aos y naci siendo nio. Lo que pareca ser
E Juan David Soto, Gustavo Vasco
otra vida ms sumida en conflictos de gnero esconde una inimaginable
historia familiar, adobada con odio desde sus ms profundas races, y S Isabel Torres
cuyo chivo expiatorio es la Seorita. Pero su poder se alimenta de esas I Mara Luisa Fuentes
mismas fuerzas, la de los animales y la montaa. No ha habido oscuridad
capaz de derribarla o eclipsarla.
Boavita is a peasant town, conservative and Catholic, ensconced in the Andes, DIRECTOR
where time stands still. In the slopes of the mountains lives Seorita Mara.
She is 45 and was born a boy. What seemed to be just another life immersed
in gender conflicts hides an unimaginable family history, peppered with
hatred from its deepest roots, and whose scapegoat is Seorita herself. But
those same forces, the animals and the mountain, nurture her power. There
hasnt been darkness that could defeat or eclipse her.
RUBN MENDOZA
S Laura Silva
Amador explores his identity through a journey in which she looks to
I Colores Castillo, Glenda
challenge the denition of gender. She is afraid to become man or woman.
The lm is a tour through her city, family, hair, her body and her fears. A little Ferrer, Paz Jaramillo, Renzo
goat (fag) from Lima interacts with our fears. Garca
DIRECTORA
The hilarious, the bizarre, the extreme come together in this series, which
this year focuses on our great international guest: Sion Sono!!
PRIMERAS NACIONES
FIRST NATIONS
FICValdivia addresses the pictures made directors from the native peoples
of the world, making a multicultural gathering possible, a space for reflec-
tion about our own plurinational condition.
[24] FICVALDIVIA 207 FIRST NATIONS
TAIWN, 2003
THE RHYTHM IN WULU VILLAGE 75 // DVD
La tribu Wulu es un asentamiento indgena Bunun, en las montaas del
D Chung-hsiung Wang
este de Taiwn. Los Bunun son famosos por su canto poli-armnico, pero,
como muchos pueblos indgenas, corren el riesgo de perder su cultura y P Sean Fu, Ke Ting-Zhu
tradiciones. En respuesta, la tribu Wulu empieza a conservar este estilo F Yeh Ming-da
para futuras generaciones, formando un coro de este tipo de canto, que se
E Chen Po-Wen, Yueh Hsing
presenta alrededor del mundo. Wang, consciente del riesgo de la prdida,
va a Wulu en busca de respuestas y para entrevistar gente del lugar,
encontrando en sus creencias el cambio que su corazn necesita.
The Wulu tribe is a native Bunun settlement, on the mountains of east Taiwan.
The Bunun are famous for their poly-harmonic singing, but, like many other DIRECTOR
native peoples, they run the risk of losing their culture and traditions. In
response, the Wulu tribe begins conserving the style for future generations,
establishing a choir in this type of singing that performs around the world.
Wang, aware of the risk of loss, goes to Wulu in search for answers, and to
interview folks, nding in their beliefs the change his heart needs.
CHUNG-HSIUNG WANG
GUATEMALA, 2016
500 AOS 105 // DIGITAL
Desde un juicio histrico por un genocidio, hasta el derrocamiento de un
D Pamela Yates
presidente, 500 Aos relata la historia de una resistencia en Guatemala
llevada a cabo por la poblacin de mayora maya, que ahora tendr que re- P Paco de Ons
imaginar su sociedad. Participa en la 11 Muestra Cine+Video Indgena, E Peter Kinoy
La diversidad cultural de los pueblos originarios, organizada por el Museo
I Irma Alicia Velsquez Nimatuj,
Chileno de Arte Precolombino y el Departamento de Pueblos Originarios
del CNCA. Esta muestra presenta 50 producciones audiovisuales en 26 Matilde Terraza Gallego,
salas, distribuidas en 17 ciudades, de 10 regiones de Chile. Daniel Pascual Hernndez,
of mostly Maya ancestry, which will now have to re-imagine their society.
The lm is part of the 11th Indigenous Cinema+Video Series, The cultural DIRECTORA
diversity of native peoples, organized by the Chilean Pre-Columbian Art
Museum and the Native Peoples Department at CNCA. The program
showcases 50 audiovisual productions at 26 venues, spread over 17 cities,
in 10 regions in Chile.
PAMELA YATES
ASENTAMIENTO
Asentamiento es un pieza de video arte que muestra tomas
de rostros de personas con ascendencia mapuche, quienes
proceden de diversos lugares, siendo parte de la cosmovisin
mapuche como tambin siendo ajenos a ella. El trabajo pretende
revelar las diferentes condiciones de personas que poseen
una ascendencia indgena y tensarlas en relacin a prejuicios
respecto a morfologas estereotipadas sobre los mapuches. La
obra esta emplazada en la capital de Chile: Santiago, siendo esta,
segn el ltimo censo 2012, la ciudad que ms habitantes de la
etnia tiene en el pas.
CHILE, 2015 15 // DIGITAL Asentamiento is a video art piece that shows shots of the faces
of people with Mapuche ancestry, who come from diverse places,
being at once part of the Mapuche worldview, and foreign to it.
D Sebastin Calfuqueo The work intends to reveal the different conditions of people of
indigenous descent and to put them in tension with prejudices
regarding stereotyped morphologies about the Mapuche. The piece
is set in the Chilean capital: Santiago, which is where, according to
the 2012 census, most of the inhabitants from this ethnic group
live.
MAPURBE
David Aniir, a travs de un viaje, explora Santiago y se adentra en
la comuna de Cerro Navia. Cuenta cmo se relaciona y reivindica
el pueblo Mapuche dentro de un territorio colmado de los
problemas de la ciudad moderna, pero que sin embargo es parte
del territorio ancestral, y cmo esta relacin ha formado un nuevo
tipo de sujetos, las y los Mapurbe.
WARRIACHE
Msica y danza se entremezclan para explorar el sentir mapuche
en la ciudad ser gente de la tierra en medio de la urbe. El origen
y la identidad se encuentran y descubren desde el arte.
Music and dance mingle to explore the Mapuche feeling in the city
being people of the earth in the midst of the metropolis. Origin and
identity are found and discovered through art.
D Camilo Antileo
[24] FICVALDIVIA 211 FIRST NATIONS
WALLMAPU, CHILE, 2017 36 // DIGITAL Lonko, Machi, Ngenpin and Werken, from their roles in the social
and territorial structure of the Wallmapu (Mapuche ancestral land),
mirror essential elements in the Mapuche way of life (Admongen),
D Gerardo Berrocal through their Dungun (narrative) as representatives of the different
Millarrewe Huilcaman Lofs (communities) of the Pewenche, Wenteche, Nagche and
Lafkenche territorial identities. Admongen is a documentary
series that reflects, from the Kimvn (ancestral knowledge) and
the Rakiduam (thought), on the Mapuche way of life itself, and its
relationship with the ancestral territory (Wallmapu).
WERKN
Werkn es una palabra en mapudungun que se refiere a un
portavoz, cuyo rol es transmitir un mensaje considerando su forma
y contenido. Werkn es un cortometraje que contiene el mensaje
de una Machi a la Presidencia de Chile. La interpretacin de las
palabras de la Machi a travs de lenguajes artsticos se mezcla con
el rol tradicional del portavoz. Las ondas sonoras viajan en forma
de mapudungun y se unen al eco que viene de Wallmapu.
LA TIERRA EN EL CIELO
La tierra en el cielo es un homenaje a las 6 lenguas de pueblos
originarios que, pese a todas las adversidades, hoy siguen
vigentes. A travs de un conjunto de estos relatos, narrados en
mapudungun, aymara, quechua, rapa nui, kawsqar y yagn,
se describen distintas versiones del cielo y sus componentes,
visualizados a la manera de un territorio comn, pero a la vez
recargado de las diversidades inherentes a las culturas indgenas
vigentes en el Chile de hoy.
CHILE, 2017
SECOS 15 // DCP
Chile es el nico pas que tiene privatizadas sus aguas, en favor de las
D Galut Alarcn, Chamila
grandes corporaciones, y en desmedro de los hogares y las comunidades
rurales y urbanas. El cortometraje Secos visibiliza esta realidad mediante Rodrguez
el dilogo entre luchadores annimos de las provincias ms afectadas, G Galut Alarcn
con reconocidas actrices y actores del pas. El objetivo es activar la
P Chamila Rodrguez
temtica del agua como un derecho humano y lograr en el futuro prximo
la recuperacin de este vital elemento como un bien comn para todas las F Rodrigo Avils
comunidades y territorios. S Miguel Hormazbal
M Jorge Arriagada
Chile is the only country that has privatized its waters, in favor of large
corporations, to the detriment of homes in rural and urban communities. I Luis Alarcn, Loreto
Secos is a short that makes this reality visible, through the dialog between Valenzuela, Oscar Hernndez,
anonymous ghters from the most heavily affected provinces, with
Shlomit Baytelman , Alejandro
renowned actors and actresses in the country. The objective is to activate
Trejo, Chamila Rodrguez,
the topic of water as a human right, to achieve in the future the recovery
of this vital element as a common good for all communities and territories. Daniel Muoz, Nstor
DIRECTORES
GALUT ALARCN
CHAMILA RODRGUEZ
C POETASTROS CHAMILA RODRGUEZ Galut Alarcn, Chamila
Monseor Edwards 1955 Dep. [@] chamilacine@gmail.com Rodrguez (Chile)
B; La Reina, Santiago; Chile [t] +569 9264 1488 2014 La Invencin de la Patria
www.poetastros.com
www.secos.tv
[24] FICVALDIVIA 215 CH I L E A N CI N E M A S H OW CA S E
CHILE, 2016
TACOS DE CEMENTO 55 // DCP
Andrs Prez Araya es uno de los ms destacados artistas chilenos. Por
medio de su propia voz, hace un emocionante recuento de su vida y nos D, P, F
relata sus aos finales. Activista de los derechos homosexuales, defensor Marcelo Porta
de un teatro popular y poltico G Marcelo Porta, Mara de la Luz
years. Gay rights activist and defender of a popular and political theater Aguilera, Andrs Morera
M ngela Acua
DIRECTOR
MARCELO PORTA
C MARCELO PORTA
[@] mportai@hotmail.com
[t] +569 9891 0058
VE N T A N A D E L CI N E CH I L E N O 216 [24] FICVALDIVIA
A group of friends with Down syndrome have been going to the same school S Boris Herrera, Juan Carlos
for 40 years. They already went through all the grades. They have been there Maldonado
longer than the teachers. And, even their parents, who used to accompany
M Miguel Miranda, Jos Miguel
them, are no longer there. Now, they will have to struggle to get a better job,
Tobar
earn money like everyone else, learn to take care of themselves and achieve
that, at 50, no one will look at them like children. They will do everything so
DIRECTORA
that no one interferes with their adult dreams.
MAITE ALBERDI
CHILE, 2016
VIDA DE FAMILIA 80 // DCP
Bruno, Consuelo y Sofi son una familia moderna, que se cree feliz. Cuando D Alicia Scherson, Cristin
parten una temporada a Francia, dejan encargada su acogedora casa y su Jimnez
querido gato a Martn, un primo lejano al que apenas conocen. Sintete G Alejandro Zambra, Alicia
como en tu casa, le dicen, sin imaginar que Martn se lo tomar al pie de Scherson, Cristin Jimnez
la letra, inventndose una nueva identidad y construyendo all su propia P P: Carlos Olivares, Fernando
vida de familia. Bascun
F Cristin Petit-Laurent
E Soledad Salfate
S Peter Rosenthal, Roberto
Espinoza
Bruno, Consuelo y So are a modern family that believes to be happy. When M Caroline Chaspoul, Eduardo
they go to France for a time, they leave their cozy home and their dear cat to Henrquez
Martn, a distant cousin they barely know. Make yourself at home, they tell I Jorge Becker, Gabriela
him, without imagining that Martn will do just that, inventing a new identity Arancibia, Blanca Lewin,
and constructing there his own family life. Cristin Carvajal
DIRECTORES
CRISTIN JIMNEZ
ALICIA SCHERSON
Cristin Jimnez (Valdivia, 1975)
2014 La voz en off
2011 Bonsi
2009 Ilusiones pticas
CHILE, 2017
LA MENTIRITA BLANCA 80 // DCP
Due to the lack of interesting events in a small country town in southern E Toms Alzamora, Roberto
Chile, a failed journalist is forced to invent news to keep his job. When he Doveris
becomes the most popular reporter in the region, he must decide whether to
S Sebastin Arjona
keep lying and increase his fame, or tell the truth and lose everything.
M Martn Schlotfeldt
DIRECTOR
TOMS ALZAMORA
CHILE, 2017
CABROS DE MIERDA 124 // DCP
Santiago de Chile, mediados de los 80, plena dictadura militar: Samuel
(23), un joven misionero norteamericano, llega a vivir a una poblacin D, G
marginal de la capital, para conocer, predicar y ayudar en este pas del G Gonzalo Justiniano
tercer mundo. All conoce a Gladys, una mujer fuerte, desprejuiciada P Gonzalo Justiniano, Jorge
que le ensea a ver la vida de otra forma. Samuel vive experiencias que Infante
nunca olvidar. Con imgenes reales e inditas, Cabros de mierda es un
F Miguel Joan Littin
testimonio de ese momento histrico.
E Carolina Quevedo
Santiago, Chile, mid-80s, in the middle of the military dictatorship: Samuel S Romina Nez
(23), a young American missionary, arrives to live in a marginal low-income M Miguel Miranda
neighborhood in the capital, to get to know, preach and help this third world I Natalia Aragonese, Danniel
country. There, he meets Gladys, a strong, unprejudiced woman that teaches
Contesse, Elas Collado,
him to see life in a different way. Samuel lives experiences he will never
forget. With real, unpublished images, Cabros de Mierda is a testimonial of Corina Posada, Luis Dub,
Claudio Gonzlez
DIRECTOR
GONZALO JUSTINIANO
A personal documentary record during the lming of La Telenovela Errante, E Coti Donoso
by Ral Ruiz, made in 1990 and nished 27 years later, in 2017. The movie S Ignacio Cubillos
tries to get close to the directing methods and the personal vision that Ruiz
M Jorge Arriagada
had of cinema.
I Ral Ruiz, Luis Alarcn,
Fernando Bordeau
DIRECTOR
PABLO MARTNEZ
CHILE, 2017
COBQUECURA, LA DEFENSA DEL MAR 21 // DCP
Este corto documental narra el proceso que vive la comunidad de
Cobquecura, en el litoral de la Regin del Biobo, y su frrea oposicin ante D, F, E, I
la inminente instalacin de un megaproyecto salmonero en las costas, por Manuel Lpez
parte de Inversiones Pelcano S.A. G S, M: Alejandro Contreras
P Sebastin Larran
This short documentary narrates the process experienced in the community
of Cobquecura, on the coast of Biobo Region, and their erce opposition to
the imminent installation of a mega salmon project along the coastline, by
Inversiones Pelcano S.A.
DIRECTOR
MANUEL LPEZ
BRUTAL D, G
Carlos vive constantemente al lmite, sin medir las consecuencias de sus Cristbal Duran Gras
actos. El amor y la amistad no existen, en una realidad donde la oscuridad
P Cristbal Duran Gras, Carlos
ha devorado el da. La existencia transcurre entre noches de excesos y
rock pesado. Nada tiene ningn sentido en una ciudad olvidada al fin del Tampe
mundo. Lo nico real es el dolor y el viento que golpea su rostro cuando F Cristbal Duran Gras, Toms
recorre la carretera, escapando de su propio reflejo.
Arcos
Carlos lives constantly on the edge, without a care for the consequences of E Pablo Nulart, Cristbal Duran
his actions. Love and friendship do not exist, in a reality where darkness has Gras
devoured the day. Existence takes place at night, amid excesses and heavy S Javier Neira Oreja de Oso
rock. Nothing means anything, in a forgotten town at the end of the world.
M Degotten, Niebla experimental
The only real things: the pain and the wind that hits his face, as he travels the
highway, on the run from his own reflection. trio, Cristbal Duran Gras
DIRECTOR
EL LATIDO DE TU CORAZN D, G
Esta historia transcurre en 1976, en la ciudad de Valdivia, Chile, en una Marisol Cumsille
noche en que dos personas, desconocidas entre s, deben esconderse
P Jos Miguel Matamala
juntos en el stano de una casa que no conocen, mientras esperan la
F Carlos Enea Vargas
maana para poder salir una vez que termine el toque de queda. Al
amanecer, ya no son los mismos. E Ilan Stehberg
S Alejandro Contreras
This story takes place in 1976, in the city of Valdivia, Chile, on a night when I Camila Medina, Camilo
two strangers must hide out together, in the basement of a house they dont
Arancibia, Samuel Gonzlez,
know, while they wait till morning, to come out once the curfew is over. At
Agustn Figueroa, Javiera
dawn, they are no longer the same people.
Zambrano, Marcela Baraona,
Pedro Guillermo Jara, Sandra
DIRECTORA
MARISOL CUMSILLE
CARBN D, G, F
A 15 km de la ciudad Valdivia est el bosque de Llancahue. Por varias Carlos Enea Vargas
generaciones, un grupo de familias han vivido gracias a la produccin de
P Jos Miguel Matamala
carbn de lea. La creciente industria forestal ha generado un deterioro del
entorno que afecta los sistemas de produccin campesina, provocando un E Ilan Stehberg, Carlos Enea
xodo de estas familias a la ciudad. Estamos frente a la ltima generacin Vargas, Jos Miguel Matamala
de personas que mantienen vivo este oficio demostrativo de la diversidad
S Alejandro Contreras
de nuestra cultura destinada a desaparecer.
I Luis Dub, Emilio Montoya
RETROSPECTIVE PROGRAM
LA LECCIN DE CINE
THE CINEMA LESSON
Una clase magistral sobre cine expresada en tres pelculas que son
consideradas obras maestras, que son parte fundamental de la historia
de la disciplina y que se exhiben en celuloide en carcter retrospectivo
en el festival.
MNILMONTANT
Una pareja es brutalmente asesinada en el distrito obrero de Pars.
La historia contina con la vida de sus dos hijas, que se enamoran del
mismo matn parisino, lo que las conduce por caminos separados.
Circus director Leni Peikert tries to create a utopian circus, where animals
can show without artice, and artists leave behind their juggling, in favor
of explanations of the laws of the universe. But, accomplishing this dream
slips through a series of barriers.
MADRE E HIJO
CLSICOS
CLASSICS
RO BRAVO
Segunda pelcula de Howard Hawks con el nombre Ro (Ro Rojo y
Ro Lobo), donde John Wayne personifica la figura de la ley, tratando
de hacer justicia frente a un asesinato a sangre fra cometido por el
hermano del dueo del pueblo. Wayne, como el sheriff John T. Chance,
acompaado de un ayudante alcohlico (personificado con naturalidad
por Dean Martin) y otro lisiado (el extraordinario Walter Brennan),
harn frente a hostiles pistoleros contratados para matarlos al menor
descuido. Un film sobre el estudio de caracteres, la especialidad de
Hawks.
The second lm by Howard Hawks with the word river in the title (Red
River and Rio Lobo), where John Wayne personies the law, trying to
do justice for a cold-blooded murder carried out by the brother of the
owner of the town. Wayne, as Sheriff John T. Chance, together with an
alcoholic deputy (portrayed effortlessly by Dean Martin) and a cripple (the
amazing Walter Brennan), will face hostile gunmen hired to kill them at the
smallest misstep. This lm is a study in personalities, Hawks specialty.
EL VIEJO FUSIL
El doctor Dandieu, quien atiende a los rebeldes franceses durante
la invasin alemana de Francia, es sorprendido y amenazado con la
integridad de su familia, si no cesa sus actividades. Enva a su mujer
y a su hija al chteau que posee a las afueras de Pars, para alejarlas
del peligro. Unos das ms tarde va reunirse con ellas, pero encuentra
la propiedad llena de nazis. Pronto se da cuenta de qu ha ocurrido y
comienza una venganza donde aplica tcticas guerrilleras. En medio
de brutalidades, recuerda su idlica vida en familia antes de la guerra.
Doctor Dandieu, who tends the French rebels during the German invasion
of France, is discovered and his familys wellbeing is threatened, unless
he stops his activities. He sends his wife and daughter to the chateau he
owns outside of Paris, to distance them from danger. A few days later, he
travels to meet them, but nds his property overrun with Nazis. Soon,
he nds out what has happened, and begins taking revenge, applying
guerrilla tactics. Amidst brutalities, he remembers his idyllic life with his
family, before the war.
TOTALMENTE SALVAJE
TOTALLY WILD
A retrospective series of cult lms from the damned genres. All will screen
in celluloid, so lost scenes, scratches and cuts will be the norm.
[24] FICVALDIVIA 237 TOTALLY WILD
EL PSICPATA
Hace 100 aos, naci Freddie Francis, uno de los ms grandes directores
de fotografa del cine britnico y uno de los mayores autores de la casa
Hammer. Su visualidad es nica en el cine contemporneo. Ac, Francis
filma un guin de Robert Bloch (Psicosis) sobre un asesino que, entre
otros asuntos, gusta de atacar a sus vctimas con un soplete directo al
rostro y dejarlas acompaadas por una mueca. Fue tal su xito en Italia
que se le atribuye haber sido la influencia para Mario Bava y el cine giallo
que comenzara un ao ms tarde con Sei donne per lassassino.
EL SAMURAI ASESINO
Mientras segua explotando las pelculas de monstruos, en la dcada
del setenta el estudio Toho empez a probar suerte con cintas de
samuris basadas en cmics. Esta es la primera de una serie de seis
pelculas de Lobo Solitario y su cachorro, personajes del manga de
Kazuo Koike, el mismo autor de Lady Snowblood, otra serie de Toho
de la misma poca. La historia sigue a un samuri sicario que hace sus
trabajos acompaado de su pequeo hijo de tres aos. El resultado es
una pelcula violenta, lluviosa, de implicancias bastante oscuras y con
un final legendario.
While continuing to exploit monster lms, during the 70s, studio Toho
began trying their luck with movies about samurais based on comics. This
is the rst in a six-lm series about Lone Wolf and his cub, characters of
the manga by Kazuo Koike, the author of Lady Snowblood, another Toho
series from the same time period. The story follows a samurai hitman that
carries out his contracts with his three-year-old son in tow. The result is a
violent, rainy movie with dark implications and a legendary ending.
Just like in Martin Scorseses The Color of Money, but lmed half a
decade earlier, two professional pool hustlers travel the US trying to
make it big, as the best in the country. The mentor is James Coburn; the
young apprentice is Bruce Boxleitner. What they seek is to face off against
a legendary archenemy, played by Omar Sharif, to collect some extra
money. This delicacy of lost, ambitious characters tries, like every good
gambling movie, to give new meaning to winning.
VHS ERTICO
EROTIC VHS
Films clsicos del cine para adultos, las cuales sern exhibidas en el ms
popular de los formatos hogareos: el querido VHS.
Classic adult lms will screen in the most popular of home formats: the be-
loved VHS.
VH S E R T I CO 242 [24] FICVALDIVIA
LA CASETA DE LA RISA
La Caseta de la Risa o Beach House o Casotto o El Deseo Loco es una
de esas comedias de situacin donde el verano sube la fiebre y baja
la ropa. Un ao despus de Taxi Driver (1976), una jovencsima Jodie
Foster se entromete inslitamente en esta comedia italiana en la
que unas vacaciones son la excusa perfecta para mostrar una fauna
sexual que va desde un freak con dos penes hasta unas estafadoras
que quieren timar a un tipo con cinturn de castidad. Casotto asume
riesgos exponiendo cdigos culturales ms que subidos de tono para
la poca.
CADENAS CALIENTES
La errtica carrera de la exorcizada Linda Blair tiene en Cadenas
Calientes uno de sus puntos ms altos. Es que, pese a brotar de los
mrgenes, las pelculas de crceles de mujeres resultaron uno de los
pocos subgneros que resistieron al paso del tiempo: desde Amarga
Decepcin (Caged, 1950) hasta Caged Fury 2000 (1995), todas tienen
lo suyo. Y, por caso, es Cadenas Calientes la oportunidad para ver
aquella explotacin cinematogrfica en su mximo esplendor: escenas
de duchas, crmenes sexuales, mafias internas y motines sangrientos.
The erratic career of exorcized Linda Blair has in Chained Heat one of its
highest points. The thing is, despite originating on the fringes, womens
prison lms ended up being one of the few subgenres that withstood the
test of time: from Caged (1950), to Caged Fury 2000 (1995), they all have
their thing. Chained Heat brings the chance to view that cinematographic
exploitation to its maximum splendor: shower scenes, sex crimes,
internal mobs and bloody mutinies.
EL CASO LAURA
Imaginas tu video en TV en vez de Tom & Jerry?, increpa un
extorsionador a su vctima. El chantaje a partir de actos sexuales
fue un modus operandi popular en la Argentina de 90 y aqu se erige
una historia de pura venganza: Laura, hermana de la protagonista de
aquel video, ajusticiar a los malandras uno a uno, de las maneras
ms inslitas. Con dosis de sexo lsbico, vejaciones y asesinatos con
agujas llenas del virus VIH!, esta es una de las gemas menos difundidas
del cine ertico criollo. Recomendada para seguidores de Las Guachas,
furor trash del FICValdivia 2016.
Can you picture your video on TV, instead of Tom & Jerry? the blackmailer berated
his victim. Extortion out of sexual acts was a popular modus operandi in 1990s
Argentina, and here comes a story of pure vengeance: Laura, the sister of that videos
protagonist, will execute the crooks one by one, in the most unprecedented ways.
With doses of lesbian sex, humiliation and murder by HIV injection!, this is one of the
least-promoted gems in Argentine erotic cinema; recommended for the followers of
Las Guachas, trash frenzy at FICValdivia 2016.
UACH PROGRAM
MUESTRA FACULTAD DE FILOSOFA
Y HUMANIDADES
PHILOSOPHY AND HUMANITIES SCHOOL PROGRAM
LA EXPROPIACIN
El filme recoge las acciones de los
habitantes del campo en el Sur de Chile
y de la CORA (Corporacin de la Reforma
Agraria). Aunque la accin fue filmada
en cuatro das y cuatro noches en 1971,
la pelcula solo fue terminada en Francia
1973, tras el golpe militar.
16640 EL DESPERTAR DE LA
TIERRA
La Reforma agraria se constituyo en el
Chile de los 60 y 70, como el proceso
social, econmico, poltico y cultural ms
relevante del siglo XX, en Chile. El fin del
latifundio y el inquilinato cambiaron para
siempre a ese Chile atrasado y medieval que
persista a pesar de las transformaciones
The Agrarian Reform was developed in Chile, during the 60s and 70s, as the que experimentaba el mundo. Fue el fin de
most relevant social, political, economic and cultural process in Chile, during un sistema de esclavitud e indignidad de
the 20th century. The end of the large estate and the institution of tenancy
vastos sectores de la poblacin y al mismo
changed that backwards, medieval Chile, which had persisted despite the
transformations around the world, forever. It was the end of a system of tiempo un proceso inconcluso y dramtico
slavery and indignity for vast sectors of the population, and at the same time, por lo que fue la contra reforma, luego del
it was an unnished and dramatic process, with the counter reforms enacted golpe de 1973.
after the 1973 coup.
BEUYS
Treinta aos despus de la muerte de Joseph
Beuys, an se le siente como un visionario que
fue, y an es, adelantado a su tiempo. Andres
Veiel deja que el artista hable por s mismo.
Con material de audio y video inditos, Veiel
crea un retrato poroso y asociativo que, como
el mismo artista, abre espacio para las ideas,
en vez de proclamar edictos. La cinta de Veiel
Thirty years after Joseph Beuyss death, he feels like a visionary who was, and hace visible las contradicciones y tensiones
still is, ahead of his time. Andres Veiel lets the artist speak for himself. From que dieron origen al arte extensivo de Beuys.
previously unpublished audio and video footage, Veiel creates an associative,
porous portrait that, like the artist himself, opens up spaces for ideas rather Su contexto expandido de arte alimenta
than proclaiming statements. Veiels lm makes visible the contradictions directamente los debates sociales, polticos
and tensions that gave rise to Beuyss comprehensive art form. His expanded y morales de hoy.
concept of art feeds directly into todays social, political and moral debates.
ARTE Y POLTICA
El archivo-video Arte y poltica: 2005-2015
(fragmentos) recorre una secuencia de
proyectos que reflexionan sobre los cruces
de signos y poderes que dominan el entorno
poltico, econmico, social y cultural en el
que se debaten hoy la creacin artstica
y el pensamiento crtico en Chile. Los
fragmentos de esta serie una secuencia
Arte y Poltica: 2005-2015 (Fragmentos) is a video-archive that covers a sequence of recortada, inevitablemente parcial e
projects reflecting on the crossovers of signs and powers that dominate the political, incompleta combinan obras y voces que
economic, social and cultural environment, where the debate between artistic creation abordan lo poltico en el arte segn diversas
and critical thought takes place today, in Chile. The fragments in the series a sequence estrategias de forma y contenido, de
cut short, inevitably partial and incomplete combine works and voices that take on the lenguaje y subjetividad, de representacin
political aspect in art, according to different strategies of form and content, of language simblica e intervencin poltico-cultural.
and subjectivity, of symbolic representation and politico-cultural intervention.
Nelly Richard
NELLY RICHARD
MUESTRA UACH 248 [24] FICVALDIVIA
H20 MX
Ciudad de Mxico, una de las urbes ms
pobladas del mundo, crece sin control
y el suministro de agua es un problema
real. H2O MX registra puntualmente el
desabastecimiento, el desperdicio y los
graves problemas de contaminacin del
agua
Mexico City, one of the most populated urban centers in the world, grows
out of control, and the water supply is a real issue. H20 MX pointedly
documents the scarcity, the waste and the grave pollution problems.
Liceaga, Hugo Van Belle Ariel Guzik, Javier lvarez Jos Cohen (Mxico, 1970)
JOS COHEN,
LORENZO HAGERMAN 2014 H2Omx
HACER CIUDAD
Qu significa hacer ciudad hoy? Quines
operan en la ciudad, en qu lugares,
desde cules ideas y visiones? Hacer
Ciudad parte de estas preguntas para
realizar una aproximacin a una serie de
proyectos desarrollados, desde distintos
planteamientos, por arquitectos mexicanos.
Estos proyectos abordan el papel de la
At present, what does it mean making a city? Who operates in the city, in arquitectura frente a Ciudad de Mxico,
what places, from which ideas and visions? Hacer Ciudad sets out from como un espacio diverso y complejo,
these questions, to approach a series of projects, Mexican architects have poniendo el acento en lo posible y en la
developed out of diverse concepts. These projects take on the role of utopa, buscando mejorar las condiciones
architecture in Mexico City, as a complex, diverse space, putting an accent de vida de quienes habitan y se enfrentan a
on what is possible and what is utopian, looking to improve the quality of los problemas propios de esta megalpolis.
life of those who live in, and face the issues of, this megalopolis.
GUILLERMO AMATO
MUESTRA INFANTIL FICVin 249
FICVin PROGRAM
FICVin
FESTIVAL INTERNACIONAL DE CINE
DE VALDIVIA INFANTIL
Bees, scarecrows, cracks, dragonflies and toads, balls of cloth, foxes and
butterflies in winter. Children in the night, eating on the run, Jacinta and
her doves, the boy that wanted to be a lion, something complicated, life,
a sea of trees, an island of shadow birds. Forest spirits, fuzz, identities.
Chile, Brazil, Argentina, Colombia, Mexico, France, Germany, their
characters, their tales, their concerns, their ways of looking at childhood.
Over 30 shorts, five of them in competition. Six international features,
totaling over 700 minutes onscreen, to share with friends, with family,
with school communities.
FICVIN, in its seventh year, one more time welcomes girls, boys and teens,
and all the adults that take the time to come with them. Let the lights go
out, and the show begin.
FICVIN 252 [24] FICVALDIVIA
MXICO, 2017
MUESTRA DE LARGOMETRAJE INFANTILES INTERNACIONALES 96 // DCP
TESOROS
D, G, E
Jacinta (6) nos gua a travs de la historia de los hermanitos Dylan (6),
Mara Novaro
Andrea (11) y Lucas (2 y medio), quienes llegan a una caleta en la costa
mexicana del Pacfico, para embarcarse con sus nuevos amigos en un P Veit Helmer
viaje de descubrimiento, en bsqueda de un tesoro pirata perdido que G Mara Novaro, Pamela Guinea
siglos atrs fue escondido por Francis Drake. F Gerardo Barroso, Lisa Tillinger
DIRECTORA
MARA NOVARO
ARGENTINA, 2016
MUESTRA DE LARGOMETRAJE INFANTILES INTERNACIONALES 75 // DIGITAL
Alejandro Paker
The young artist Anida lives in a millennial floating circus that sails from port
to port. Her best friend is a toad named Vicente. Anida possesses a great DIRECTORA
power: she can read the future in peoples hands. But, she also bares a hex:
she cant see her past. Madame Justine runs the circus, and doesnt let
anyone leave her domain. An impossible love, the dream of freedom, power
and adventure, will make Anida nd her way and discover a secret that will
conclude this story with the magic of the best tales.
LILIANA ROMERO
Caroline dreams of a life lled with adventure. Then one day, while living DIRECTORA
with her healer Granny and troublesome cat, Caroline gets her chance. While
looking through her grannys healing potions, she stumbles across a magic
formula that will make her fly. But magic isnt always used for good, and
when the evil leader of a manufacturing company nds out about the magic
potion, she kidnaps Granny to steal the recipe. When Caroline nds out, she
jumps into action and starts off on the adventure of her lifetime to rescue
her Granny.
VIRGINIA CURI
ALEMANIA, 2014
MUESTRA DE LARGOMETRAJE INFANTILES INTERNACIONALES 82 // DIGITAL
QUATSCH
D, P
Bollersdorf, al centro de Europa, es un lugar tan comn y corriente, que el
Veit Helmer
Centro de Investigacin del Consumidor lo ha declarado zona de prueba
G Hans-Ullrich Krause, Veit
para nuevos productos. Los adultos se alegran ante el reconocimiento
de su normalidad y prescinden de todo lo que se salga de la norma. Los Helmer
perjudicados son los ancianos, que son recluidos en asilos, y sobre todo F Felix Leiberg
los nios, cuya fantasa en los sucesivo se intenta coartar. Pero los chicos E Vincent Assmann
se defienden con imaginacin y anarqua, hasta lograr el caos perfecto.
S Julian Cropp
M Cherilyn MacNeil, FM Einheit,
Bollersdorf, at Europes center, is such a common, unremarkable place that
the Center for Consumer Research has declared it a testing ground for new Ingfried Hoffmann, Lars Lhn,
products. The grownups are happy to be recognized as normal, and they do Malcolm Arison, Pit Baumgartner
away with anything outside of the norm. The ones affected the most are the I Nora Brner, Justin Wilke,
old, who are locked up in homes, and above all, the children, whose fantasy
Charlotte Rbig
from now on will be restricted. But the kids ght back with imagination and
anarchy, until achieving perfect chaos. DIRECTOR
VEIT HELMER
E Dirk Grau
Mika is 14 and just failed her class. For this reason, she will not be able to go
M Annette Focks
on vacation with her friend Fanny. Instead, she will spend it with books, at
Mary Kaltenbachs, her severe grandmother that lives in the country. There, I Hanna Binke, Marvin Linke,
her cellphone has no coverage, but there is a horse farm where Sam, the Cornelia Froboess
friendly stableboy, works, and where East Wind lives, a stallion considered
wild and dangerous. An exceptional friendship will spring between horse and
girl, which will lead both to have unexpected adventures that will change DIRECTORA
their lives.
ESPAA, 2014
MUESTRA DE LARGOMETRAJE INFANTILES INTERNACIONALES 51 // DIGITAL
DANIEL EITURA
Musicales Paillaco
Mulchen
Sombra
JUEVES 12
20:00 HRS A 21:00 HRS SILVESTRE / 21:00 HRS A 22:00 HRS DENISE ROSENTHAL
PRUEBA DE ACTITUD
Cuatro adolescentes atractivas pero
no muy despiertas roban la prueba
que decidir su futuro universitario y se
embarcan en un viaje a la costa chilena, para
memorizar cada respuesta. Sin embargo,
durante una fiesta llena de excesos,
perdern la nica copia del examen que les
puede garantizar un puntaje perfecto.
Four attractive but not too bright teenagers steal the test that will
decide their college futures, embarking on a trip to the Chilean coast to
memorize every answer. However, during an excess-fueled party night,
theyll lose the only copy of the test that can guarantee them a perfect
score.
VIERNES 13
16:00 HRS A 17:00 HRS TREMENTINA / 17:00 HRS A 18:00 HRS THEMENTHES
20:00 HRS A 21:00 HRS HOMNIDOS / 21:00 HRS A 22:00 HRS PASCUALA ILABACA & FAUNA
SBADO 14
16:00 HRS A 17:00 HRS VIRGEN NEGRA / 17:00 HRS A 18:00 HRS NEGRO E POBLA
20:00 HRS A 21:00 HRS NEGRA MACUMBA / 21:00 HRS A 22:00 HRS JUANITO AYALA
LA MENTIRITA BLANCA
Debido a la falta de acontecimientos en un
pequeo pueblo campesino del sur de Chile,
un fracasado periodista se ve forzado a
inventar noticias para no perder su trabajo.
Al convertirse en el reportero ms popular
de la regin, deber decidir entre seguir
mintiendo y aumentar su fama o contar la
verdad y perderlo todo.
E Melndez, Catalina
Toms Alzamora, Roberto
Saavedra, Daniel
Doveris
Antivilo, Jonas Sanche TOMS ALZAMORA
[24] FICVALDIVIA 263 CI N E M A S
Sergio Fant
Programador de cine italiano, despus de Italian film programmer, after graduating in Film
graduarse de Estudios de Cine y posterior a una Studies and following an experience as film archivist
experiencia como archivero cinematogrfico en at the Cineteca di Bologna, he went on conceiving,
la Cineteca di Bologna, continua concibiendo, organizing and curating programs for several venues
organizando y curando programas para mltiples and festivals, including the Rome festival and the
salas y festivales, incluyendo el Festival de Roma y Mostra Internazionale dArte Cinematografica in
la Mostra Internazionale dArte Cinematografica, en Venice. In 2012 he joined the Locarno Festival in
Venecia. En 2012, empieza a trabajar en el Festival Switzerland, where he is currently member of the
de Cine de Locarno, en Suiza, donde hoy es miembro features selection committee.
del comit de seleccin de largometrajes. Es He is also the head of programming of the
adems jefe de programacin en el Festival de Cine Trento Film Festival, and co-head of the Italian
de Trento y es co-encargado de la programacin film programming and distribution platform
y distribucin de cine italiano para la plataforma CineAgenzia.
CineAgenzia.
Rebecca de Pas
Rebecca de Pas comienza a trabajar con festivales Rebecca De Pas started working for festivals in
en 2004, en la Cineteca de Bologna. En 2009, 2004, in the Bologna Film Archive. In 2009, she
empieza su trabajo en el comit de seleccin de joined FIDMarseille in the selection committee, as
FIDMarseille y es co-encargada de la plataforma well as co-head of the FID Lab, the international
de coproduccin internacional FID Lab. Adems co-production platform. Beside her engagement
de su vnculo con FIDMarseille, es actualmente in FIDMarseille, she is currently in the selection
miembro del comit de seleccin para Berlinale committee for the Berlinale Talents, and is advisor
Talents y es consejera para el Programa Expandido for the Feature Expanded Program. In the past,
de Largometrajes. En el pasado, ha sido directora she has been artistic director of the Journes
artstica de Journes Cinmatographiques Cinmatographiques Dionysiennes, and she
Dionysiennes y ha colaborado con los festivales de collaborated with La Roche-sur-Yon IFF, the
La Roche-sur-Yon, Riviera Maya, el Festival de Cine Orizzonti section at the Venice IFF, the Riviera Maya
Medioambiental de Pars y la seccin Orizzonti del Film Festival, and the Environmental Film Festival
festival de Venecia. of Paris.
[24] FICVALDIVIA 267 FUTURE CHILEAN CINEMA
A group of friends embarks on the search for Friendship, a mysterious island Casa Productora (Production
supposedly located in southern Chile. It is thought that extra-terrestrials live House): La Elefanta
there, with technology capable of healing the inrm; it is said this happened to Producciones
Ernesto de la Fuente. Their story will crossover with Ernestos tale, and those of
Duracin Estimada (Estimated
the people that had contact with the island decades ago, something that changed
running time): 90
their lives forever. One of the young men trying to locate the island has a particular
Fecha estimada de
personal motivation: being able to heal his sick brother.
finalizacin (Estimated
completion date): Agosto 2018
C: peter.mcpheec@gmail.com
CI N E C H I L E N O D E L F U T U R O 270 [24] FICVALDIVIA
C: alejandro@primatelab.cl
[24] FICVALDIVIA 271 FUTURE CHILEAN CINEMA
C: nasi.giancarlo@gmail.com
CI N E C H I L E N O D E L F U T U R O 272 [24] FICVALDIVIA
A young dentist with a vocational crisis dares not confess to her husband that she Casa Productora (Production
doesnt want to have children. A broke ofce clerk is incapable of recognizing he House): Kungan Project,
cannot pay for better schooling for his daughter. The proud owner of a factory is
Madriguera Films
not brave enough to accept he blamed a stranger of a theft by mistake. Three urban
Duracin Estimada (Estimated
characters face crossroads where the only possible way out seems to be lying.
running time): 92
Fecha estimada de
finalizacin (Estimated
completion date): Diciembre
2017
C: kungan3@yahoo.es
[24] FICVALDIVIA 273 FUTURE CHILEAN CINEMA
Nona (66), una atpica duea de casa, vive autoexiliada en un pueblo costero, en
un misterioso bosque donde suceden extraos incendios que se le atribuyen al
Diablo. Cuando el viento y el pacfico parecen endemoniados, ella y sus vecinos
son testigos de un gran incendio forestal que comienza a destruir millones de D: Camila Jos Donoso
hectreas de bosque al sur de Chile. El cielo se llena de humo, el pueblo se P: Roco Romero
asusta con cada alarma de incendio y el caos parece dominar.
C: rocio@mimbreproducciones.cl
CI N E C H I L E N O D E L F U T U R O 274 [24] FICVALDIVIA
Martina fue una cantante famosa en Argentina, pero tras una traumtica
ruptura amorosa perdi su habilidad para cantar y, an peor, disfrutar del sexo.
La llegada de una fantica chilena que dice ser su hermana, junto a su novio, la
llevar a viajar a Chile, dnde Martina vivir una segunda oportunidad amorosa
y familiar. D: Che Sandoval
P: Florencia Larrea
Martina was a famous singer in Argentina, but after a traumatic break up, she lost
the ability to sing, and what is worse, to enjoy sex. The arrival of a Chilean fan who
Casa Productora (Production
claims to be her sister together with her boyfriend, will make her travel to Chile,
where Martina will get a second chance at love and family. House): Forastero en
coproduccin con Rizoma
(Argentina)
Duracin Estimada (Estimated
running time): 90
Fecha estimada de
finalizacin (Estimated
completion date): Diciembre
2017
C: florencia@forastero.cl
[24] FICVALDIVIA 271 FUTURE CHILEAN CINEMA
[24] FICVALDIVIA 277 AUSTRALAB
AUSTRALAB
Laboratorio Austral de Cine: 4 al 13 de octubre
AUSTRALAB
Austral Cinema Lab: October 4 to 13
FINANCIA
ALIADOS PRINCIPALES
COLABORADORES
MEDIA PARTNER
ALIADOS DISTRITAL
AUSTR ALAB 280 [24] FICVALDIVIA
3 PUERTOS CINE
3 PUERTOS CINE es una plataforma para el desarrollo de 3 PUERTOS CINE is a platform for feature project development,
proyectos de largometraje, coorganizado por AUSTRALAB y co-organized by AUSTRALAB and DISTRITAL Festival, in Mexico.
el festival DISTRITAL de Mxico. 3 PUERTOS CINE tiene dos 3 PUERTOS CINE has two workshop instances, the rst one in
instancias de taller, la primera en Valdivia, en el marco de Valdivia, as part of AUSTRALAB activities, and the second, in
AUSTRALAB y la segunda en Mxico, en el marco de DISTRITAL Mexico, in the context of DISTRITAL Formacin.
Formacin. In the Valdivia sessions, October 4 to 9, 2017, directors
Durante la sesin de Valdivia, a realizarse entre el 4 y 9 will receive tutoring with Paula Astorga, Roberto Contador,
de octubre de 2017, los directores tienen tutoras con Paula Erick Gonzalez, Mariano Llins and Martn Rejtman, addressing
Astorga, Roberto Contador, Erick Gonzalez, Mariano Llins aesthetic, narrative and conceptual aspects in each project.
y Martn Rejtman, donde se abordan los aspectos estticos, The same twelve directors will attend the Mexico sessions,
narrativos y conceptuales de cada proyecto. buy this time with their producers in tow, to continue working
A la sesin de Mxico vuelven los mismos doce directores, on these aspects, but also, on issues regarding project funding,
esta vez acompaados de sus productores, para seguir with the perspective of developing models tailored to each ones
trabajando en estos aspectos, pero adems en torno a lo specic needs.
relacionado a la financiacin del proyecto, en la perspectiva The tutors for the 3 PUERTOS CINE 2017 Valdivia sessions,
de pensar un modelo acorde a las necesidades especficas de organized by AUSTRALAB are:
cada uno.
Los tutores de la sesin organizada por AUSTRALAB en
Valdivia de 3 PUERTOS CINE 2017 son:
PAULA ASTORGA
ROBERTO CONTADOR
3 PUERTOS CINE
ERICK GONZLEZ
MARIANO LLINS
Director de cine
Dirige Balnearios (2002), Historias extraordinarias (2008) y La Flor (en post-produccin). Cofunda
en 2003 la compaa de produccin El Pampero Cine, en Argentina, por medio de la cual realiza las
galardonadas Castro (2009), dirigida por Moguillansky; Ostende (2011) y La mujer de los perros (2015),
ambas dirigidas por Laura Citarella, y otros. Tutor en desarrollo de proyectos, especialista invitado
desde la primera edicin de 3 PUERTOS CINE en 2014, es profesor en la Universidad del Cine, Argentina.
Film director
He is director of Balnearios (2002), Historias extraordinarias (2008) and La Flor (in post-production). In 2003, he cofounded
the production house El Pampero Cine, in Argentina, through which he has made the award-winning Castro (2009), directed by
Moguillansky; Ostende (2011) and La mujer de los perros (2015), both directed by Laura Citarella, and others. A tutor in project
development, he has been our guest since the rst edition of 3 PUERTOS CINE, in 2014; he is a faculty at Universidad del Cine, in
Argentina.
MARTN REJTMAN
3 PUERTOS CINE
El proceso de seleccin, que se desarroll en dos fases, estuvo The selection process, which took place in two stages, was
a cargo de un comit conformado por lectores de Argentina, overseen by a readers committee from Argentina, Chile, Mexico,
Chile, Mxico, Costa Rica y Per: Costa Rica and Peru:
Paula Astorga (Mxico), Directora de DISTRITAL, Paula Astorga (Mexico), director at DISTRITAL, producer,
productora, acadmica y consultora de proyectos faculty and project consultant
Karina Avelln (Costa Rica), productora, distribuidora y Karina Avelln (Costa Rica), producer, distributor and
profesora universitaria university faculty
Cecilia Barrionuevo (Argentina), programadora del Cecilia Barrionuevo (Argentina), programmer at Mar del
Festival de Cine de Mar del Plata y co-editora de Las Naves Plata Film Festival, and co-editor at Las Naves Cine
Cine John Campos Gmez (Peru), programmer at Transcinema
John Campos Gmez (Per), programador del festival Film Festival and lm critic
Transcinema y crtico de cine Roberto Contador (Chile), playwright, scriptwriter and lm
Roberto Contador (Chile), dramaturgo, guionista y director director
de cine Elisa Eliash (Chile), lm director and university faculty
Elisa Eliash (Chile), directora de cine y profesora Erick Gonzlez (Chile), director at AUSTRALAB, programmer
universitaria and project consultant
Erick Gonzlez (Chile), Director de AUSTRALAB, Mariano Llins (Argentina), lm director
programador y consultor de proyectos Nicols Pereda (Mexico), lm director and university faculty
Mariano Llins (Argentina), director de cine Marcelo Quesada (Costa Rica), producer and distributor
Nicols Pereda (Mxico), director de cine y profesor Clara Taricco (Chile), executive producer at AUSTRALAB and
universitario producer
Marcelo Quesada (Costa Rica), productor y distribuidor
Clara Taricco (Chile), Productora ejecutiva de AUSTRALAB
y productora
[24] FICVALDIVIA 283 AUSTRALAB
The director returns to her towns popular festivities, fifteen years after being
crowned queen, with the intention of documenting the preparations of the
candidates and the outgoing queen for the ceremonies to come. These images
trigger a series of memories about his mother and grandmother, while at the
same time painting the portrait of a provincial town.
[24] FICVALDIVIA 285 AUSTRALAB
Pina travels to Mexico City to meet her boyfriend, a slob that convinced her to loan
C:
him money, but instead, she meets Luisa and discovers she no longer needs a man
fuentes.raulfuentes@gmail.com
by her side to enjoy life and nd herself.
yezin@me.com
Dirige el corto Edificio Tatuap Mahal, que celebra su estreno mundial en TIFF y
luego es seleccionado en ms de 200 festivales. Dirige tambin 69-Praa da Luz,
exhibido en el MoMa de Nueva York y ganador del Festival de Rio. Postergados
es su ms reciente proyecto. Es una de los diez cineastas invitados al TIFF
Talent Lab 2015.
She directed the short film Edificio Tatuap Mahal, which held its world
premiere at TIFF and was later selected at over 200 festivals. She also directed
69-Praa da Luz, which screened at MoMA in New York and triumphed at the
Rio Festival. Postergados is her latest project. She was one of ten filmmakers
invited to TIFF Talent Lab 2015.
AUSTR ALAB 288 [24] FICVALDIVIA
Toia holds a degree in Visual Arts from IUNA and in psychology, from UBA. Her
filmography screened at Marfici 2012 and at El cine es otra cosa (MAMBA,
2015). She participated in Hors Pistes (Centre Pompidou, 2012). At Bafici 2017,
she received best direction for her first feature documentary Orione.
[24] FICVALDIVIA 289 AUSTRALAB
A fifth year student of Film and Television at Universidad de Chile, she is director
and writer of the shorts Non Castus, special jury mention at 69th Locarno
Festival, and Bilateral. She is currently writing her first feature.
AUSTR ALAB 290 [24] FICVALDIVIA
She studied film direction at Universidad del Cine, in Buenos Aires, Argentina.
She directed the shorts Castillo de arena, Polvo de barro (selected at the 2014
Cartagena de Indias International Film Festival) and Silencio antes (selected at
2016 Cartagena de Indias International Film Festival, and in the Argentine Short
Film competition at Bafici 2016).
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Audiovisual producer from the Northwest Film Center, in Oregon, and Master
in film and script from the University of Texas, in Austin, he recently finished
his full-length documentary Nosotros las piedras, about the laborers in Costa
Ricas southern Pacific, with which he participated at the Berlinale Talent
Campus.
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C:
felipepiffardi@gmail.com
A film graduate from Universidad ARCIS in 2008, he has directed several shorts
and videos. He is currently finishing post-production on his medium-length
Quince diecisis, and developing the script for his first feature El verano de
Leonor.
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Valdivia Locarno Industry Academy International es una Valdivia Locarno Industry Academy International is a new
nueva iniciativa organizada en colaboracin por AUSTRALAB initiative, organized in collaboration, by AUSTRALAB at
de FICValdivia, y el Festival Internacional de Cine de Locarno. FICValdivia and the Locarno International Film Festival. The
El objetivo de este taller es formar a profesionales jvenes de objective behind this workshop is to train young industry
la industria que trabajan en las reas de ventas, distribucin professionals that work in the areas of sales, traditional and
en lnea y tradicional, exhibicin y programacin, as como online distribution, exhibition and programming, and also to
ayudarlos a generar redes de trabajo a nivel internacional. assist them in generating international networks. This module
Este mdulo ayuda a los participantes no solo a capacitarse helps participants not only to develop skills of the trade, but
en el oficio en el cual se desarrollan, sino que a entender los also to understand the challenges for the independent film
retos de la industria cinematogrfica independiente en Chile, industry in Chile, South America and the rest of the world.
Sudamrica y el mundo. The first edition of Valdivia Locarno Industry Academy
La primera edicin de Valdivia Locarno Industry will take place on October 11 to 13. It will offer a group of
Academy se realizar entre el 11 al 13 de octubre. Ofrece a un participants from Chile and Latin America the chance to work
grupo de participantes de Chile y Latinoamrica la oportunidad with relevant international industry professionals and tutors.
de trabajar con profesionales y tutores de relevancia en la Industry Academy was held for the first time at the 2014
industria internacional. Locarno International Film Festival. It currently holds three
Industry Academy se realiza por primera vez en el Festival sessions in Latin America, one of which is done in alliance
de Locarno 2014, y hoy tiene tres sesiones en Amrica Latina, with AUSTRALAB. It was created to position in the industry
una de ellas organizada en alianza con AUSTRALAB. Fue creado young professionals working in the areas of international
para posicionar en la industria a jvenes profesionales que sales, marketing, distribution, exhibition, and programming
trabajen en las reas de ventas internacionales, marketing, (festivals, cinema-clubs, museums, film archives), and
distribucin, exhibicin y programacin (festivales, cine-clubs, also to bring to light the importance of circulation in the
museos, cinematecas) y tambin para visibilizar la importancia cinematographic industry.
de la circulacin en la industria cinematogrfica. The objective of Locarno Industry Academies International
El objetivo de Locarno Industry Academies International is also to build bridges across the different markets in Europe,
es tambin construir un puente a travs de diferentes Latin and North America.
mercados en Europa, Latinoamrica y Amrica del Norte.
AUSTR ALAB 296 [24] FICVALDIVIA
AUSTRALAB de FICValdivia organizar su primera edicin del AUSTRALAB at FICValdivia is organizing the first edition of
Encuentro de Festivales, para capacitar a programadores, the Encuentro de Festivales (Festival Gathering), to train
directores artsticos o de programacin y encargados de reas programmers, artistic and programming directors, and
de industria. industry area heads.
Sern seleccionados alrededor de seis participantes de Around six participants from different festivals in the
distintos festivales del pas, los cuales durante dos jornadas country will be selected to receive tutoring and training for
recibirn tutoras y capacitacin de un equipo de profesionales two workdays, by a team of circulation professionals, such
de la circulacin, tales como programadores o directores de as international festival programmers and directors, industry
festivales internacionales, delegados de reas de industria, area delegates, distributors and sales agents.
distribuidores o agentes de venta. Some of the topics that will be addressed:
Algunos de los temas que sern trabajados sern: -Programming logic and editorial line
-Lgicas de programacin y lnea editorial -Negotiation with right holders (sales agents, producers
-Negociacin con detentores de derechos (agentes de and distributors)
venta, productores o distribuidores) -Methodologies for the efficient organization of festivals
-Metodologas para la eficiente organizacin de festivales and industry areas
y reas de industria -Collaborative work
-Trabajo colaborativo -Strategic alliances and funding
-Alianzas estratgicas y financiamientos The workshop, which will take place on October 12 and 13,
El taller, que tendr lugar el 12 y 13 de octubre, tendr will also offer the chance to discuss and debate the role and
adems una instancia para discutir y debatir sobre el rol y el future of film festivals.
futuro de los festivales de cine.
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LARED
LARED es un grupo de distribuidores latinoamericanos que LARED is a group of Latin American distributors that network
trabaja en red para la adquisicin asociada de pelculas for the associated acquisition of independent films and their
independientes y su distribucin conjunta en Amrica Latina. coordinated distribution throughout Latin America. Each one
Cada una de las empresas que la conforman tiene sus propios of the partner companies has their own catalogs, managed
catlogos manejados de forma autnoma, pero se renen para autonomously, but they come together to carry out joint
llevar a cabo compras conjuntas cuando las pelculas implican purchases, when the movies imply greater financial risk, when
un mayor riesgo financiero, cuando hay dificultad para acceder there is difficulty to access them due to high license costs,
a estas, por altos costos en los derechos, o simplemente para or simply to give them better regional coverage, when all or
dar mayor cobertura regional a una misma pelcula, en el caso several LARED members are interested in their distribution.
de estar todos o varios de los miembros de LARED interesados The idea for this networking is to increase competitiveness
en su distribucin. for rights purchasing, to join economic forces, and to diminish
La lgica del trabajo en red realizado por este grupo es the costs associated with film distribution.
aumentar la competitividad para la compra de derechos, al LARED was born in the Cine sin Fronteras workshop,
unir las fuerzas econmicas de todas las compaas, y luego organized by AUSTRALAB, between 2010 and 2013, under
disminuir los costos, al mutualizar los gastos asociados a la the auspices of the Media Mundus program, together with
distribucin de una pelcula. Europa Distribution and CICAE. During Cine sin Fronteras,
LARED nace en el workshop Cine sin Fronteras, organizado the idea was born, among the Latin American distributors, to
por AUSTRALAB, entre 2010 y 2013, al alero del programa partner up with the objective of supporting the diversification
Media Mundus, junto a Europa Distribution y CICAE. Durante of the cinematographic offer in the continent. Thus, LARED
Cine sin Fronteras, entre los distribuidores latinoamericanos was established, a partnership that today gathers distributors
surge la idea de asociarse con el objetivo de aportar a la from seven countries in Latin America, from north to south:
diversificacin de la oferta cinematogrfica en el continente. Mexico, Costa Rica, Ecuador, Brazil, Colombia, Argentina and
As se establece LARED, una asociacin que hoy en da rene Chile. Every year, the representatives from each country meet
a distribuidores de siete pases de Amrica Latina, los que de to continue working towards the improvement of independent
norte a sur son: Mxico, Costa Rica, Ecuador, Brasil, Colombia, cinema circulation in Latin America, and the strengthening
Argentina y Chile. Cada ao, los representantes de cada pas se of this network, with hopes of integrating new members. This
renen para seguir trabajando en vas de la circulacin de cine year, attempts will be made to bring a Spanish distributor
independiente en Amrica Latina, adems del fortalecimiento onboard, to make LARED an Ibero-American initiative.
de esta red en vistas a integrar a nuevos miembros. Este ao se
intentar sumar a una distribuidora de Espaa buscando que
LARED sea iberoamericana.
Estas son las compaas que actualmente conforman LARED partner companies:
LARED:
-INTERIOR 13, Mexico
-INTERIOR 13, Mxico www.interior13.com
www.interior13.com
-PACFICA GRAY, Costa Rica
-PACFICA GRAY, Costa Rica www.pacificagrey.com
www.pacificagrey.com
-TRPICO CINE, Ecuador
-TRPICO CINE, Ecuador tropicocine.com
tropicocine.com
-INTERIOR 13 COLOMBIA, Colombia
-INTERIOR 13 COLOMBIA, Colombia (INTERIOR 13 has branches in Mexico and Colombia)
(INTERIOR 13 tiene sucursales en Mxico y www.interior13.com
Colombia)
www.interior13.com -LAT-E, Argentina
www.lat-e.blogspot.com
-LAT-E, Argentina
www.lat-e.blogspot.com -DESCOLONIZA FILMS, Brazil
-LARED, Chile: En Chile AUSTRALAB, realiza los contactos -LARED, Chile: In Chile, AUSTRALAB contacts national
con distribuidores nacionales para, caso a caso, trabajar con distributors, on a case-by-case basis, to work with them,
alguno en funcin de pelculas que LARED vaya a distribuir en according to the pictures LARED will distribute in Latin
Amrica Latina. America.
Para la distribucin de pelculas chilenas por parte de When it comes to distributing Chilean films through
LARED, los distribuidores de los pases listados ms arriba, LARED, the distributors from the countries listed above,
colaboran con el distribuidor o productor nacional. collaborate with the national distributor or producer.
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