As a film enthusiast with a soft spot for Latin American cinema, I find myself utterly intrigued by this year’s Santiago de Chile Film Festival lineup. Each of these films, with their unique narratives and diverse perspectives, promises to transport us to different worlds within our own.
The 20th anniversary of Chile’s major film festival, the Santiago International Film Festival (Sanfic), is marked by the inclusion of ten Chilean films in the competition. These movies were selected out of a historic high of 40 submissions received this year.
Each year, around 25 entries are typically submitted to the festival, and about eight to nine of those titles are chosen by festival director Carlos Nuñez and co-founder Gabriela Sandoval, who oversees the industry sector.
He attributes the proliferation of films this year, in part, to the urge of young, upcoming filmmakers to make their mark in the world of cinema. “Most of the directors in our selection are young and only making their first or second films,” Nuñez pointed out, adding that most of the titles are debut features. This year’s crop has only one female director but many of the producers behind them are predominantly women, he noted.
Among the ten films presented, four will have their first showing ever in the world, three will make their debut in Latin America for the first time, and the remaining three will be introduced nationally for the first time. According to Nuñez, “We consider these films to be the best of this year’s selection.”
Several shows derive significant support from collaborative productions with countries like Mexico, Colombia, Argentina, Ecuador, the Netherlands, and Peru, in addition to private investors and government grants.
The 20th Sanfic edition runs over Aug. 18-25.
A breakdown of the Chilean lineup:
“Las Cenizas,” (Stjepan Ostoic Papic, Chile)
For the first time on screen, Irene’s world is introduced in this film. Shot in black and white, tragedy strikes when her father unexpectedly passes away in a nursing home. Despite reassurances from all that it was a natural death, Irene harbors suspicions of foul play. Driven to uncover the truth, she embarks on an investigation, ultimately unearthing secrets about her father’s enigmatic past. Renowned director Ostoic Papic brings this story to life, having previously produced the acclaimed “Antofagasta, New York” and the short film “Ausencia.”
As a huge fan of innovative technology, I can’t help but be captivated by Alfredo Pourailly’s “Fabulous Gold Harvesting Machine” from Chile and Holland. This isn’t just any ordinary machine; it’s a marvel that excels at extracting gold in an extraordinary way. It’s like watching a magician at work, transforming raw materials into precious metals right before my very eyes. What an incredible invention!
I had the privilege of witnessing Pourailly’s debut documentary, which made its world premiere at Canada’s Hot Docs Festival. The film focuses on Toto, an artisanal gold miner who, despite being only in his sixties, appears much older due to decades spent sifting for gold in the cold and wet climate of Tierra del Fuego. Despite feeling frail, he can’t bring himself to stop working. His son Jorge aims to help by constructing a gold harvesting machine, which they hope will improve their future. Co-produced by Juntos Films (“Immersion”) and the Netherlands’ Windmill Film, this documentary was awarded Best Ibero-American Documentary at Mexico’s Guadalajara Film Fest.
“Aullido de Invierno,” (Matias Rojas Valencia), Chile, Colombia, Argentina
Ingrid and Franz, a German and Chilean duo who survived the dark past of Colonia Dignidad – a post-WWII camp led by a Nazi sympathizer where dissidents were brutally treated and disappeared – seek solace in the secluded Patagonian landscape. Their tale intertwines with a fictional account of a woman’s quest for redemption concerning Chile’s disquieting history and Colonia Dignidad. The boundaries between reality and fiction blur against the backdrop of winter’s icy grip. This is Rojas’ first documentary, renowned for his critically acclaimed fiction works, “Raiz” and “A Place Called Dignity.”
“No estoy en el mar,” (Luis Cifuentes Saravia, Chile, Mexico, Argentina)
In a small town in southern Chile named San Rosendo, yoga instructor Josefina makes her film debut as the protagonist. She travels there to discover the past of her father, Manuel, whom she’s never met. Cifuentes, the director, runs ElCineVino – a traveling cinema that brings movies to secluded regions in Chile.
“Primera Persona,” (Daniel Peralta, Chile)
At the Chicago Latino Film Festival, Peralta presented his latest drama, “The Latin American Bow,” which features Julian Cabeza, a secluded rock musician. Haunted by blows to his ego and a deep-rooted fear of failure, Julian’s long-lasting relationship with Aline is put to the test. In his coastal hideaway, he encounters Isabel and Dario, a troubled young couple. Through their shared experiences of loss and disillusionment, they form a fleeting friendship. Known for his low-budget films, which he refers to as “garage films,” Peralta boasts an impressive resume including the critically acclaimed productions “Mejor no fumes,” “Fiesta falsa,” and “Andrés lee i escribe.”
“Through Rocks and Clouds,” (“Raíz”), (Franco García, Chile, Peru)
In the 74th Berlinale, Garcia from Peru, nicknamed “Vientos del sur,” received a Special Mention for his second notable feature. At eight years old, Feliciano tends to alpacas in the secluded Andes, accompanied by his alpaca Ronaldo and loyal dog Rambo. They engage in lively conversations about football and the Peruvian national team. However, their tranquil existence is disrupted when a mining company attempts to buy their land through coercion. When Ronaldo goes missing, Feliciano becomes frantic with worry, while his parents and neighbors bravely resist.
“Sariri,” (Laura Donoso, Chile)
At Cinelatino Toulouse, Donoso’s first film “Sariri” made its world debut. This project, which Donoso both wrote and directed, tells the story of a woman named Dina in a desert mining town ruled by patriarchy. Facing an unwanted pregnancy, Dina desires to leave for the city. Yet, she is unable to abandon her young sister Sariri, who is having her first menstruation.
“Una Luz Negra,” (Alberto Hayden, Chile)
In his first fiction film, “Hayden’s Drift,” the mysterious and unexplained plays a significant role. The story revolves around Jorge (45), who discovers an unsettling connection to a deceased young man: they share the same name and striking resemblance. For Josefina, the mother of the deceased, encountering Jorge brings back forgotten memories. This film had its world premiere at Argentina’s Bafici Festival. Hayden is also known for his documentary series “Random” and feature-length documentary “Pangea.”
“Los Afectos,” (Diego Ayala, Aníbal Jofré, Chile, Ecuador)
In 2018 Santiago, during intense student protests, a high school dean named Benjamin witnesses his 16-year-old daughter being brutally attacked by law enforcement. The film intersperses poignant musical numbers as Benjamin grapples with his sorrow and the unrest escalates further. This marks the second collaboration of directors Ayala and Jofré, whose first film “Volantín Cortao” was shown at Locarno’s Carte Blanche and debuted at the Rome Film Festival.
“La Primera Dosis,” (Roberto Salinas Vergara, Chile)
As a film enthusiast, I’m thrilled to share that I had the opportunity to witness the world premiere of Salinas’ groundbreaking documentary. This is his debut feature, focusing on Daniel, a man who struggled with cocaine addiction for an astounding 27 years. The film invites us into Daniel’s world, giving us a raw and unfiltered look at life in “the bridge,” a notorious area where addiction and crime are rampant.
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2024-07-17 16:47