Dramas, Docus and the Supernatural Make Up Sanfic Chilean Pics – MASHAHER

Chile’s most prominent film event, the Santiago Int’l Film Festival (Sanfic) celebrates its 20^th edition with 10 Chilean titles in competition, chosen from a record 40 submissions this year.

“We usually receive an annual average of 25 entries of which we select eight to nine titles,” said festival director Carlos Nuñez who co-founded the festival with Gabriela Sandoval who runs the industry section.

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.

Out of the 10 films, four are marking their world premieres while three are making their Latin American debuts and the other three, their national debuts. “We believe these are the crème de la crème of this year’s output,” said Nuñez.

Many are powered by co-productions, a key lifeline, from countries such as Mexico, Colombia, Argentina, Ecuador, the Netherlands and Peru as well as private equity investors and state funding.

The 20^th Sanfic edition runs over Aug. 18-25.

A breakdown of the Chilean lineup:

“Las Cenizas,” (Stjepan Ostoic Papic, Chile)

World premiere. Shot in black and white, Irene’s world shatters when her father dies suddenly in a nursing home. Although everyone insists it was a natural death, she suspects he was murdered. Determined to uncover the truth, she launches an investigation, which leads her to revelations about her father’s mysterious past. Ostoic Papic is known for his previous film, the award-winning “Antofagasta, New York” and short, “Ausencia.”

“The Fabulous Gold Harvesting Machine” (“La fabulosa máquina de cosechar oro”), (Alfredo Pourailly, Chile, Holland)

Pourailly’s debut documentary feature, which had its world premiere at Canada’s Hot Docs, revolves around Toto, one of the last remaining artisanal gold miners who is barely 60 but looks much older from decades sifting for gold in cold and wet Tierra del Fuego. He’s feeling frail but can’t stop working. His son Jorge will try to solve this problem by building a gold harvesting machine that should brighten their future. Co-produced by Juntos Films (“Immersion”) and the Netherlands’ Windmill Film. Winner, Best Ibero-American Documentary at Mexico’s Guadalajara Film Fest. 

“Aullido de Invierno,” (Matias Rojas Valencia), Chile, Colombia, Argentina

A Latin American debut for the docu-fiction hybrid that turns on Ingrid, who is German and Franz, Chilean. They are both survivors of Colonia Dignidad, a sinister post-WWII camp run by a Nazi sympathizer where dissidents were tortured and disappeared. In isolated Patagonia, the couple seek to forget the past. Their story intertwines with a fictional narrative about a woman seeking redemption for her connection to Chile’s dark history and Colonia Dignidad. Fact and fiction merge against a backdrop of winter’s chill. This is Rojas’ debut documentary, best known for his lauded fiction features, “Raiz” and “A Place Called Dignity.”

“No estoy en el mar,” (Luis Cifuentes Saravia, Chile, Mexico, Argentina)

The world premiere of Cifuentes’ feature debut which turns on young yoga instructor Josefina who moves to the timeless town of San Rosendo in southern Chile to uncover the fate of her father, Manuel, whom she never met. Cifuentes heads ElCineVino, an itinerant cinema that services remote areas of Chile.

“Primera Persona,” (Daniel Peralta, Chile)

The Latin American bow for Peralta’s drama, which world premiered at the Chicago Latino Film Festival. Julian Cabeza, a reclusive rock musician, struggles with blows to his ego and a fear of failure, straining his 20-year relationship with Aline. In his coastal cabin, he meets Isabel and Dario, a conflicted young couple. A brief friendship forms as they share their stories of loss and disappointments. Peralta is known for making films on limited budgets which he calls “garage films.” His credits include the multi-winning dramas “Mejor no fumes,” “Fiesta falsa” and “Andrés lee i escribe.”

“Through Rocks and Clouds,” (“Raíz”), (Franco García, Chile, Peru)

The second feature of Peruvian-born Garcia (“Vientos del sur”) which won a Special Mention in the 74^th Berlinale. Eight-year-old Feliciano herds alpacas in the remote Andes with his alpaca Ronaldo and his dog Rambo. He chats with them about football and the Peruvian national team. However, a mining company threatens their community, using intimidation to pressure them to sell their land. When Ronaldo disappears, Feliciano searches desperately while his parents and neighbors fight back.

“Sariri,” (Laura Donoso, Chile)

A debut feature that world premiered at Cinelatino Toulouse, “Sariri” is Donoso’s graduation project, which she also co-wrote. In a desert mining town under patriarchal rule, Dina, facing an unwanted pregnancy, plans to escape to the city. However, she can’t abandon her young sister Sariri, who is experiencing her first period.

“Una Luz Negra,” (Alberto Hayden, Chile) 

The supernatural permeates Hayden’s fiction feature debut, which centers on Jorge (45) who becomes obsessed when he learns he shares a name and a striking physical resemblance with a deceased young man. For Josefina, the young man’s mother, meeting Jorge stirs up long-buried memories. World premiered at Argentina’s Bafici. Hayden’s work includes docu series “Random” and feature documentary “Pangea.”

“Los Afectos,” (Diego Ayala, Aníbal Jofré, Chile, Ecuador)

World premiere and a buzz title. Set in 2018 Santiago at the height of the student demonstrations. Benjamin, a high school’s dean of discipline, sees his 16-year-old daughter viciously attacked by police forces. The drama is punctuated with musical set pieces as Benjamin struggles with his grief and the protests continue to spiral. This is the second feature of co-directors Ayala and Jofré whose debut feature “Volantín Cortao” was part of Locarno’s Carte Blanche and premiered at the Rome Film Festival.

“La Primera Dosis,” (Roberto Salinas Vergara, Chile)

World premiere. Salinas’ documentary feature debut centers on Daniel, a cocaine addict for 27 years, who shares his story of addiction and crime in an area called “the bridge.” We explore the underworld through his eyes, visiting places where addicts still live. During these visits, Daniel offers “the first dose,” a gesture symbolizing his connection to the humanity of those marginalized by society. Salinas’ editing credits include the award-winning shorts “Vishitiri” (2018) and “Estrellas del Desierto” (2022).