Pinochet

During the first days after the 1973 Chilean coup d’état, the political leadership of the Popular Unity government was arrested and transferred to Dawson Island, Magallanes Region, extreme south of Chile and the mainland. The wives of the then political prisoners began an incessant effort to find out the whereabouts of their husbands and then try to return them alive. In these circumstances, they meet and spontaneously organize into a group they call the “Dawsonianas.”

Filmmaker Rodrigo Dorfman goes in search of his revolutionary roots in Chile and in the process finds it in the euphoria of the Occupy Movement.

A conversation between the director of this film, Carmen Castillo and Marcia Merino, AKA La Flaca Alejandra who was one of the collaborators of Pinochet's secret police (the DINA) after being tortured by them. It was Merino who betrayed Castillo, who lost her new born child after being tortured. Almost twenty years later, Carmen Castillo returns to Chile after her exile to film this documentary, during a time in which Marcia Merino, on the court of justice, decided to give the names of her old bosses who worked with her on the DINA.

A moving portrait of Chilean singer-songwriter and political activist Victor Jara (1932-73) that chronicles the life of the talented artist who was imprisoned, tortured and machine-gunned by the country's dictatorship.

A documentary about Finnish twin sisters, one of whom disappeared in Argentina in 1977.

A film about the fearless photographers and photojournalists who documented strikes, demonstrations, protests etc during the Chilean military regime of Augusto Pinochet, sometimes risking their very lives.

Documentary following Serbian football coach Zoran Đorđević as he helps form South Sudan's first national football team.

Agüero is able to look at the scene in all it's complexity around architectonical brutality that Santiago de Chile underwent around the year 2000.

23

The essay by René Vautier, "Déjà le sang de Mai ensemençait Novembre", starts with the recapitulation of the representations of Algeria throughout the history of visual arts in France in an effort to explore the causes for the quest for independence.

It is a powerful predator, one of the most elusive animals in Patagonia and rarely filmed. In the very South of Chile the Pumas' hunting grounds lie in the awe-inspiring Torres del Paine National Park, follow a mother Puma as she rears her cubs in the wild, teaching them to survive and thrive.

Recuerdos del futuro: Raúl Pellegrín

Chile 73' o la historia que se repite

The documentary portrays the desires and ftures of four young people from the third year of secundary education in Chile. Two of them attend the industrial high school in the San Joaquín commune, where they have already begun their training as a textile technician. They both have dreams, they want to study, work, start a family and improve themselves. On the other hand, at the exclusive Saint George school, two students study in privileged conditions. They want to be professionals and develop through the arts. This is the portrait of two worlds located less than 20 kilometers apart and that can only be together in the audiovisual montage. It is the manifestation of the coincidences and contradictions that exist between the realities and the discourses of four young Chilean students in a fundamental stage for their future.

This documentary short features Chile's history, culture, and customs.

Travel to the ice mountains of Chile to discover the secrets of the puma (aka panther, mountain lion and cougar) the area's largest predator. Discover how this elusive cat survives and follow the dramatic fate of a puma and her cubs.

Life in the isolated town of Charrúa is dominated by the presence of a large power plant that distributes energy to most of Chile. A little boy hunts rabbits, residents demand better electrical coverage at a town meeting, a woman waters the plants outside her house and a local radio station relays the day's happenings. At night, wildlife is captured on camera, along with strange bursts of light that momentarily illuminate a countryside criss-crossed with pylons and cables. And ever present is the insidious hum of electricity.

"Africa Light" - as white local citizens call Namibia. The name suggests romance, the beauty of nature and promises a life without any problems in a country where the difference between rich and poor could hardly be greater. Namibia does not give that impression of it. If you look at its surface it seems like Africa in its most innocent and civilized form. It is a country that is so inviting to dream by its spectacular landscape, stunning scenery and fascinating wildlife. It has a very strong tourism structure and the government gets a lot of money with its magical attraction. But despite its grandiose splendor it is an endless gray zone as well. It oscillates between tradition and modernity, between the cattle in the country and the slums in the city. It shuttles from colonial times, land property reform to minimum wage for everyone. It fluctuates between socialism and cold calculated market economy.

"The palm trees on the reverse are a delusion; so is the pink sand". This line, taken from a poem by Margaret Atwood, lights the path traced in "Postcard". As the years go by, landscapes transform, take on new meanings, and hold onto joys that will never be regained. The sea and the beach, once stages of happy summers, romances, and encounters, will turn into concentration camps or centers of detention and torture. This occurs across different times and places. In this piece, I embark on a journey through some of my works that explore the relationship between testimony, spaces, and time, engaging in dialogue with the beautiful film directed by Alejandro Segovia in 1972.

There were 57 months, 900 hours of audiovisual material collected in Angolan and international territory, with about 700 statements from protagonists of the anti-colonial struggle. All of this aimed at preserving the memory of a period in history that concerns Angola and the struggle of all peoples under colonial occupation whose memories still have to be registered and thought through.