Diluvio

In the nineteenth century, a French adventurer sets off to establish a kingdom in the inhospitable South of Chile, uniting the feared Mapuche under him. The response of the Chilean army is devastating.

María, a girl from Colonia Dignidad, in Chile —a kind of sectarian community, tyrannically mastered by the ruthless Paul Schäfer, a German madman, religious fanatic and child predator, who would end up turning the place into a torture center at the service of the military dictatorship ruled by Augusto Pinochet—, is punished for having lost three pigs, so she decides to run away and take refuge in an abandoned house hidden in the forest.

Actress and psychologist Antonia Giesen decides to film a script revealed by a voice within the mind of one of her patients. Seeking collaboration with the filmmaking duo León & Cociña, they craft a crossroads of theatre, science fiction, animation and fabulated biopic, populated by parallel worlds and haunted by the shadow of a Chilean Nazi writer as a demonic figure.

Using human corpses and invoking the spirits of two damned Secretaries of State, a girl performs a ritual to free the kingdom of Chile from its feudal heritage.

Cinematic memorial, designed to echo the names and memories of the underage victims of forced disappearance during the military dictatorship.

Lucía is a young woman who works as a seamstress in a factory and lives with her father in an old house in Santiago, Chile. The film occurs in December 2006 during the weeks that take place from the ex-dictator Pinochet’s funeral to Christmas Eve. Through the simple observation of Lucía’s daily life, the spectator is allowed access into a hidden and neglected world of a generation of Chileans striving to recover from the military dictatorship.

The lives of Luhli and Lucina, two especially important artists in the alternative cultural scene during the 1970s. In a time when transgression, love and peace guided behavior, we discover the love of two women for art, their spiritual universe, their lives in community and their three-way relationship with photographer Luiz Fernando Borges da Fonseca.

One summer day the animals of the forest are invited to a party. They eat a ton of cake and dance all night long. When the party is over they find that all of the trees they use for shelter and food are gone. Strange creatures have stolen their homes, so they decide to go search for them.

Several reels of film are buried in a forest in sourthern Chile. Ten years later the films are unearthed from the soil and projected. Ghosts have appeared on the surface of the decaying celulloid, they are the protagonists of Niles Atallah's earlier feature films "Lucia" and "Rey". The fictional characters have returned to haunt the images, peering through the layers of earth, as if interested in us, the spectators who watch them. Who is looking at who? Why have these characters returned? What do they want? The film is a secret code written by the earth itself.

Jaime Guzmán, the main ideologist of the Pinochet dictatorship and author of the Chilean Constitution, slips into a witch's dream. She confronts her different personifications and tries to drive away her visitor using witchcraft. She curses, sings, dances and reintroduces herself in alternative versions of herself.

An enigmatic figure, half-goddess, half-child, combining the smoothness of a doll and the materiality of clay, will be our guide as we cross time and space, and our history. - N. Feodoroff

A stately home, built in 1922, is now a dilapidated stage where memories and history are present in the old home movies starring those that once inhabited it.