Film Archive

Countries

International Programme
God Christopher Murray, Israel Pimentel, Josefina Buschmann

There are statues of the Virgin Mary and pious songs, but also burnt-down churches and blasphemous comedians dressed as Jesus. Places, objects and acts of religion, recorded on a flat surface.

God

Documentary Film
2019
64 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Diego Pino Anguita
Christopher Murray, Israel Pimentel, Josefina Buschmann
Adolfo Mesías
Andrea Chignoli, Javiera Velozo
Antonio Luco, Josefina Buschmann, Israel Pimentel
Diego Aguilar
Drawing a map that cannot be reduced to one perspective may take more than one author indeed. “Mapa filmico de un pais”, “filmic map of a country” is the long name of the MAFI collective formed by seventeen Chilean filmmakers. The map they draw combines places, things and religious acts on a flat surface, without hierarchies, classifications, evaluations: This exists here and this here, but then there is also that. There are statues of the Virgin Mary, pious songs and lonely prayers, but also burnt-down churches and a blasphemous comedian dressed as Jesus. A collage emerges that is also the picture of a conflict.

The Pope’s visit to Chile in 2018 serves as leitmotif and fire accelerant. The fault lines become sharper: dogmatic conservatism against emancipatory potential, polymorphic popular belief against unified religion as a media spectacle. Thousands cheer the Papamobil, but in the foreground unimpressed skaters practice their jumps. The Pope is probably lost to capitalism, but is this true of faith in general?

Lukas Foerster

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

International Programme
Petit Frère Roberto Collío, Rodrigo Robledo

We see a splintered image of the Haitian immigrant community in Chile. Documented from below, cutting across all visual and temporal layers: decentralised and associative.

Petit Frère

Documentary Film
2018
69 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Isabel Orellana Guarello
Roberto Collío, Rodrigo Robledo
Cerrito Corto
Matías Illanes
Mayra Morán
Roberto Collío, Rodrigo Robledo
Flavio Nogueira
Humanity intends to travel to Mars: tabula rasa with civilisation. Social avant-garde. The planets grow together, but the future is slow in coming. The sniffer dog Valyente does his job at the Moneda, the presidential palace in Santiago de Chile, checking rows of chairs and settees for explosives. The dog is from Haiti, just like Petit-Frère Wilner who, like many of his compatriots, immigrated to Chile. He works as a gas station attendant at night and as the editor of a magazine for the Haitian community during the day. It’s published in Creole and Valyente got his own article there, too.

Guided by Petit-Frère’s offscreen voice, Roberto Collío and Rodrigo Robledo paint a splintered image of the Haitian immigrant community in Chile which deliberately refuses to be traced to a stable perspective: we see brass bands and swimming races, satellite and silent film images, documents of the past and visions of the future – associative and free, half research, half dream. Reality is the imaginary object of the search for it. There is no access, but there is always the chance to film it.

Lukas Stern

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Post-Angst
Lucía, Luis and the Wolf Niles Atallah, Joaquín Cociña, Cristóbal León

Lucía loves Luis, but she’s also afraid of him. The fear is manifested in animated forms playing on the walls and furniture of her room.

Lucía, Luis and the Wolf

Animated Film
2007
4 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Niles Atallah, Joaquín Cociña, Cristóbal León
Niles Atallah, Joaquín Cociña, Cristóbal León
Niles Atallah, Joaquín Cociña, Cristóbal León
Niles Atallah, Joaquín Cociña, Cristóbal León
Niles Atallah, Joaquín Cociña, Cristóbal León
Niles Atallah, Joaquín Cociña, Cristóbal León
Niles Atallah, Joaquín Cociña, Cristóbal León
Lucía loves Luis, but she’s also afraid of him. The fear is manifested in animated forms playing on the walls and furniture of her room.

Franziska Bruckner

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Bear Story

Animated Film
2014
10 minutes
subtitles: 
_without dialogue / subtitles
Credits DOK Leipzig Logo
Pato Escala
Gabriel Osorio
Dënver
Pato Escala
Antonia Herrera
Daniel Castro
Christian Cosgrove
Every day, an old bear goes out to set up a small wooden theatre box containing tin puppets. For a coin, a very personal and heartwarming story will unfold inside the box.

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

International Programme
Naomi Campbel Camila José Donoso, Nicolás Videla

Paula, a transsexual from a run-down suburb of Santiago de Chile, needs money for her final operation. A reality show would do the trick … desire in the minefield of prejudice.

Naomi Campbel

Documentary Film
2013
83 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Rocío Romero, Catalina Donoso
Camila José Donoso, Nicolás Videla
Matías Illanes
Nicolás Videla, Daniela Camino
Nicolás Videla, Camila José Donoso
Roberto Collío
Paula Yermén is a transsexual who lives in a seedy suburb of Santiago de Chile. Her personal drama is poverty, because the operation that would make her a complete woman isn’t free. Paula’s only chance is a reality show that would pay for a sex change – at the price of baring her body and soul to the audience. Like Paula’s sex, which is somehow “in-between”, the directors have chosen an in-between narrative format: diary clips shot by Paula with her camcorder, own documentary material and discretely re-enacted moments, for example between Paula and her lover. This method makes sense, since the film is the result of a two-year co-operation with Paula. She is less a classical protagonist than the actor of herself in the minefield of traditional social preconceptions. Her longing to re-invent herself in a new body is in strange contrast to her spiritual attitude, which goes back to her half-indigenous origins. The spirits she invokes for help speak to the soul, not to a mechanically manufactured new body. But this is an insight Paula can’t reach until she fails the casting process and has no way out any more.
Matthias Heeder

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

White Death

Documentary Film
2014
17 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Isabel Orellana Guarello
Roberto Collío
Roberto Collío
Matías Illanes
Roberto Collío
Jota Sandoval, Roberto González
Roberto Collío
Roberto Collío
The vivisection of a landscape: sombre black and white images unfurl panoramas of a scraggy mountain region. Narrow paths winding through the Andes, crosses decorating the wayside. The ruins of a barracks appear, once housing recruits who departed on a last exercise and were caught in a snow storm. Fragments of real live shots collide with extremely reduced animations. The film’s emulsion begins to pulse and dissolve. Sudden lightning destroys every trace of narrative. This is not the reconstruction of an event that happened in 2005, but the evocation of a nightmare of coldness and death that was irrevocably inscribed into the landscape.
Director Roberto Collío deftly and brilliantly experiments with different materials to evoke graphical analogies. He started out as a sound designer; so on the subtly wrought soundtrack the lonely death of a young soldier finds its long, sad echo in the diminishing sounds of a whistle.

Cornelia Klauß



Golden Dove Animated Documentary 2014

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

Focus Latin America
Daughter María Paz González

A mother and a daughter on a trip across Chile. One of them is looking for her lost sister, the other for the truth about her father. A quiet, intense road movie.

Daughter

Documentary Film
2011
83 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Flor Rubina, Chile Doc; Franciso Hervé, Maria Paz Gonzáles
María Paz González
Fernando Milagros
David Bravo
Brian Jacobs, Danielle Fillios
Francisco Hervé, María Paz González
Juan Pablo Manríquez
A mother and daughter travel across Chile in search of their identity. While the mother wants to learn about the fate of her vanished sister, the daughter, director María Paz González, wants to find out the truth about her biological father at last. On their 2000 km journey the two women are forced to confront each other– and their stories and illusions, deceptions and lies.
María Paz González embarks on a frank and courageous quest for her true origins and real father, who is bound to exist somewhere behind her mother’s florid stories. In her documentary road movie, “journey” also refers to a movement in time and an approach to the truth. Gradually the insecurities and simmering conflicts between the two women give way to a feeling of attachment, making room for humour, intimacy and honest exchange. As in many road movies, the question whether the initial goal of the journey will be reached is beside the point. The stillness of the images and the silence between the women suggest that they have bonded.

– Paulo de Carvalho

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

The Last Station

Documentary Film
2012
90 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Catalina Vergara, Catalina Vergara Films/Globo Rojo; Co-Producer: Philip Gröning/Philip Gröning Filmproduktion
Cristian Soto, Catalina Vergara
The older you get the smaller your radius of movement, the slower everything you do. Time seems to crawl. Every errand is an effort and a tiny last rebellion against a leaden and inexorable death settling on the landscape in autumn colours. Mortality is concealed in everything you do: there are fewer and fewer names in your address book, the body sets new limits with each new operation and even the television programme only makes you sleepy. And yet this loss brings a benefit: everything becomes meaningful. It could be the last time. The two young Chilean filmmakers Christian Soto and Catalina Vergara portray the inhabitants of the Padre Hurtado retirement home from up close and with great empathy. They choreograph this floating existence between life and death in picturesque dark tableaux vivants and fluid lighting. Their images insist on the moment of pause, of immersion, taking up the rhythm of slowness and transforming it into poetry. They have the courage to take a step back from reality and construct a third place in the tradition of magic realism which tells us what it’s like to be not quite here and not yet there. There is a lot of beauty in that, and the recognition that it can relieve our fear of death for a moment.
– Cornelia Klauß

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.

The Lifeguard

Documentary Film
2011
64 minutes
subtitles: 
English
Credits DOK Leipzig Logo
Paola Castilla, Errante Productions
Maite Alberdi
Pablo Valdés
Alejandro Fernández
Maite Alberdi, Sebastián Brahm
Mario Puerto, Roberto Espinoza
In the early morning, Mauricio the lifeguard meticulously prepares for his job. It’s quiet now, but soon crowds of people will take the beach by storm. Mauricio himself avoids entering the water. Instead he tirelessly tries to enforce order and safety regulations on the beach. His motto is “prevention is better than rescue”. His colleague Jean Pierre has quite a different idea of the job. Prevention, responsibility, or maybe even dedication don’t seem to be his strong suit. He’s late, lives for the day and has a fondness for flinging his muscular body into the waves – after all, there is always an audience. One job and two attitudes. But who will be there when a swimmer really gets in trouble in the Pacific surf?
This rich, poignant and funny film is the remarkable debut of director Maite Alberdi, who pushes the boundaries of the documentary as she compresses the tumultuous life on this holiday beach into a microcosm of Chilean society. What seems a light summer film at first glance ultimately raises universal issues of freedom, guilt, and responsibility.

– Paulo de Carvalho

The annotations to the films in the Official Selection were written by the members of the selection committee and guest authors. All quotes from DOK Leipzig catalogue articles must be identified as such and cite the author’s name. Some original titles and names have been transcribed resp. transliterated. We apologise that we cannot cite individual image sources and rights in our festival publications or festival coverage. Please note that the visual material is published exclusively for the purposes of promoting specific films or festival programmes. No transmission to third parties is provided and would only take place with the explicit agreement of the owners of the rights. The rights to the images lie with the respective copyright owners.