- As part of the Official Feature Selection, new films by Camila José Donoso, Diego Soto, Karin Cuyul, Dubi Cano and Samantha Cabrera will make their world premieres.
- Directors Ignacio Agüero and Ernesto Díaz Espinoza celebrate their return to Gala with new feature films, respectively Carta a mis padres muertos and Diablo. The category is rounded out with the world debut of El santo oficio, by Cristián Sánchez Garfias and La misteriosa mirada del flamenco, by Diego Céspedes, winner of Un Certain Regard at Cannes 2025 and Chilean nominee for the Oscar and Goya Awards in their international categories.
Santiago, September 2. The Valdivia International Film Festival (FICValdivia) disclosed part of its program for the 2025 edition. This includes national categories in competition and out, such as the Official Feature Selection, the Official Youth Feature Selection, the Official Latin American Short Film Selection, the Chilean Cinema Selection, the Cinema and Audiovisual University Network (RUCA) Special Selection, as well as new categories dedicated to contemporary cinema, animation, and expanded cinema, offering a diverse panorama of premieres.
The announcement was made within the scope of the inauguration of FICValdivia in Santiago, a film showcase that took place from September 3 to 6 in the Mayor University, Sala K. For the third consecutive year, this institution partners up with FICValdivia, reaffirming its commitment to promoting national and international cinema. This alliance strengthens the ties between the festival and the academy, providing spaces for exhibition, dialogue, and access to cinematic experiences for students, teachers, and the general public.
The event was attended by Alfonso De Urresti Longton, Senator of the Los Ríos Region; Camila Caro, Executive Secretary of the Audiovisual Council; and Universidad Mayor authorities: Macarena Villarino, Vice Chancellor of Communications and Community Engagement; and Guillermo Bravo, Director of the Film School. Also present were Dr. María José Bello, Director of Artistic Creation representing the Austral University of Chile; Raúl Camargo, Director of FICValdivia; Alejandro Ugarte, President of the Asociación de Productores Independientes (Independent Producers Association); and finally, two members of the French Chilean Institute: Laurent Bogen, Cultural Attaché, and Matías Robledo, Cultural Coordinator.
FICValdivia will take place between October 13 and 19 in the city of Valdivia. Produced by the Valdivia Cultural Center for Film Promotion, it is organized by the Great City of Valdivia and the Los Ríos Regional Government, under the auspices of the Austral University of Chile.
OFFICIAL FEATURE SELECTION
Filmmaker Camila José Donoso has attended FICValdivia with all of her feature films. Her first movie, Naomi Campbel (2013)—co-directed with Nicolás Videla—received a Jury’s Special Mention in the Official International Feature Film Selection. Casa Roshell (2017) followed with a Special Jury Prize in the same category, and later, Nona, si me mojan, yo los quemo (Nona. If They Soak Me, I’ll Burn Them, 2019), won the first edition of Official Future Chilean Cinema Selection and participated in the International Feature Film Selection during the 26th edition. Her new picture, Antitropical, was also acknowledged in the Completion/Rough-cut category in the Future Chilean Cinema Selection of Encuentros Australes during the 31st FICValdivia. This year, it has been selected for the Official Feature Selection.
As has been the case in her previous work, her new film once again focuses on marginalized communities, from whom she rescues stories of resilience and dignity. Camila José Donoso has persistently chosen to collaborate with non-professional actresses, and Antitropical does not drift from that direction. The film addresses the difficulties of immigration in Chile through the reality of Susy, a Dominican woman living here, helping Deisi, a Colombian recently arrived in Santiago, to integrate into the sex trade associated with “cafés con piernas” (literally coffee with legs).
Antitropical, by Camila José Donoso. Chile. 2025. 93’ DCP.
Muertes y maravillas (Deaths and Wonders), Diego Soto’s silent and contemplative drama on coping with the death of a friend, won the Special Jury Prize in the Official Feature Selection at 30FICValdivia. With this second feature film of his, Soto establishes a direct relationship with the work of the poet Jorge Teillier, which gives the film its title, as a rhythmic measure of loss and mourning. In his next movie, La corazonada (The Premonition), Soto subtly structures the narrative around references to Shakespeare’s The Tempest. The story follows a film crew arriving at a family house they rented out to relax and shoot an adaptation of the play. The shooting, which includes the local inhabitants as actors, disrupts the logic of reality. In that new context, the failed love story between the house owner and a motorcyclist becomes possible. In 2024m La corazonada won the ATÓMICA Postproduction Prize in the Completion category of the Future Chilean Cinema Selection.
La corazonada, by Diego Soto. Chile. 2025. 78’. DCP.
La vida que vendrá (The Life That Will Come), Karin Cuyul’s second feature film is the third Chilean piece in competition. It marks its director’s return to FICValdivia, after Historia de mi nombre (Story of my Name) in the 26th edition—Official International Feature Selection—and Notas sobre el futuro (Notes on the Future) in 2023—Official Latin American Short Film Selection—. In this new work, the filmmaker constructs a narrative that extends the integrative, almost choral texture of her previous film. It brings together material from different sources; amateur recordings, memories, and archival material form a network of emotional, political, and intimate relationships that travel through Chile over the last 50 years, questioning the past and glimpsing a possible future.
La vida que vendrá, by Karin Cuyul. Chile, Colombia. 2025. 93’. DCP.
The convergence between two ways of existing relating with the environment: that of a woman raising her five young grandchildren in southern Chile, and of the two directors who enter her world. The logic of childhood predominates the story, in which children’s fantasy collides with the imminence of a total solar eclipse, an apparent abyss between dream and reality. Set in Aysén Region, Dubi Cano and Samantha Cabrera’s Un eclipse y el caos (An Eclipse and Chaos) carefully follows the rhythms of time and nature, in the same way Cano’s earlier feature Desierto no cierto (Uncertain Desert, 2017) contrasted the minuscule routines of two elderly women in northern Chile with the relentless advance of industrial forces. That piece won the Special Jury Prize in the Chilean Feature Selection, while Un eclipse y el caos won the Rough-Cut Prize of the Future Chilean Cinema Selection during FICValdivia 28.
Un eclipse y el caos, by Dubi Cano and Samantha Cabrera. Chile. 2025. 70’. DCP.
OFFICIAL YOUTH FEATURE SELECTION
The world premiere of Diego Fuentes’ Matapanki will represent Chile for this in competition category, dedicated to adolescence in its different manifestations. The movie follows Ricardo, a young punk from Quilicura who spends his days with his best friends, Mella and Claudia. Between gigs and parties, he also takes care of his grandmother, who suffers from fibromyalgia. His life, divided between the roughness of his everyday bonds and his careful dedication to his grandmother, takes a turn when he drinks a mysterious liquor that grants him superpowers. In his new condition, he tries to embark on the mission of changing society, a task for which, apparently, he is not prepared.
Matapanki, by Diego “Mapache” Fuentes. Chile. 2025. 71’. DCP.
OFFICIAL LATIN AMERICAN SHORT FILM SELECTION (4 FILMS)
The Official Latin American Short Film Selection includes four Chilean productions: the world premieres of Amor (Love), by Javiera Cisterna; Carta a Guni (Letter to Guni), by Diego Acosta; Nunca verás la sombra (You’ll Never See the Shadow), by Josefa Infante Lozano; and the Latin American premiere of Lengua muerta (Dead Tongue), by José Jiménez.
The piece by Javiera Cisterna—who had already found himself in this category in 2021 with Agua del arroyo que tiembla (Water from the Tremulous Stream)—is a visual evocation that mixes textures, shapes, and movements to create an imagery centered on the logic of the sea and its relationship with the continent. The images Cisterna gathers as a foundation have also been transferred into print, gaining new materiality and meaning in the process.
The new work by Diego Acosta (Al amparo del cielo—Under the Sky Shelter—Chilean Feature Award at 28FICValdivia) focuses on the figure of the Chilean writer Juan Emar (1893–1964). In this interpretation, Emar reappears after a sixty-year nap to write a letter to Guni Pirque, the woman with whom he maintained a long correspondence between 1941 and 1946.
Nunca verás la sombra, by Josefa Infante Lozano, the third Chilean short film in the selection, captures the alienating logic of the city, where anonymity in the crowd and daily rush do not prevent connections with the past, adolescence, and the rupture caused by the Covid-19 pandemic.
In Lengua Muerta, director José Jiménez focuses on the figure of Ricardo Rifo, a peasant who, while performing domestic chores in the eighties, received training as a dog handler by Ingrid Olderöck, a former DINA—National Intelligence Directorate—agent who used animals to sexually torture her victims at the infamous “Venda Sexy” detention center in calle Irán, Macul. Forty years later, the film follows Rifo, with the torn texture of the audiovisual medium complementing his erratic, elusive speech, imprisoned by the horror of silence.
- Amor, by Javiera Cisterna. Chile. 2025. 8’. DCP.
- Carta a Guni, by Diego Acosta. Chile. 2025. 23’. DCP.
- Lengua muerta, by José Jiménez. Chile. 2025. 25’. DCP.
- Nunca verás la sombra, by Josefa Infante Lozano. Chile. 2025. 16’. DCP.
CHILEAN CINEMA SELECTION
CHILEAN GALA
After Notas para una película (Notes For a Film), which premiered worldwide as the Closing Feature at the 29th FICValdivia, Ignacio Agüero comes back to Gala with his new feature film, Carta a mis padres muertos (Letter to My Dead Parents), looking back on the last five decades of his life, starting with his dad’s death, which occurred shortly after Salvador Allende’s electoral triumph. Agüero has long explored his own history in different ways throughout his career. His personal itinerary has gradually entered his work, particularly since El otro día (2012), Como me da la gana II (2016) or Nunca subí el Provincia (2019)—respectively The Other Day, This Is The Way I Like It II, and I Never Climbed the Provincia—. In this new film, that intimate evocation is made fully explicit. Organized as an epistolary narrative, Agüero addresses his late father, recounting what happened after his death, interweaving personal and family archives with public images and recently filmed material. As always, his narrative is best suited to an interrogative method, where discoveries are always explorations and trajectories subject to both chance and a drift in which political, family, and personal history intersect.
Carta a mis padres muertos, by Ignacio Agüero. Chile. 2025. 106’. DCP.
After receiving the Pudú Lifetime Achievement Award at the 27th FICValdivia—an edition in which he also premiered his films Date una vuelta en el aire and La promesa del retorno (Take a Spin in the Air and The Promise of Return, 2020)—legendary filmmaker Cristián Sánchez soon returned to the festival with Voy y vuelvo (2023) and Con los pies en la tierra (With the Feet on the Ground, 2024). Selected in the Encuentros Australes 2023, Completion/Postproduction category, his new feature film El santo oficio (The Holy Office, 2025) follows a writer attempting to shoot his first film without financing, and in the midst of the health crisis caused by the pandemic.
As in other films by Cristián Sánchez, the protagonist’s desire, intertwined with an erotic drive, becomes inaccessible, and the film he is trying to shoot constantly slips through his fingers. It probably represents the director’s most overtly cinephile work, combining witchcraft and film references with a persistent exploration of the claustrophobic universe in which the living and the dead wander.
El santo oficio, by Cristián Sánchez Garfias. Chile. 2025. 120’. DCP.
With the premiere of El puño del cóndor (The Fist of the Condor, 2023) at the Chilean Gala of the 30th FICValdivia, the festival reunited with the work of Ernesto Díaz Espinoza, who has been a regular presence since his first feature film Kiltro (2006) competed at the 13th edition. Since then, he has returned with Mirageman (2007), Mandrill (2008), Tráiganme la cabeza de la Mujer Metralleta (Bring Me the Head of the Machine Gun Woman, 2012), Redentor (Redeemer, 2014) and Santiago Violenta (2014).
During the upcoming 32nd edition, Díaz will present Diablo (2025), an action film in which Marko Zaror, his recurring actor, plays a criminal recently released from prison. Determined to fulfill an old promise, he kidnaps the daughter of a mobster, a move that turns the entire criminal world against him.
As in much of Chilean director Ernesto Díaz’s works, the purely physical and linear central storyline meets here an openly melodramatic and emotional zone, linking the characters to a generally traumatic past that largely explains the obsessive, sometimes self-destructive nature of their decisions.
Diablo, by Ernesto Díaz. Colombia, Chile. 2025. 91’. DCP.
La misteriosa mirada del flamenco (The Mysterious Gaze of the Flamingo), the new film by Diego Céspedes and Chile’s official submission to the Academy Awards (Best International Feature Film) and the Goya Awards (Best Ibero-American Film), will debut nationally in FICValdivia’s Chilean Gala section, after winning the main prize in the Un Certain Regard section at the 2025 Cannes Film Festival. The film is set in a mining town in northern Chile in 1982, when the first signs of the spread of HIV around the world appeared and whispered stigma linked it to homosexuality. The story is told from the perspective of Lidia, an 11-year-old girl who lives with her queer family, consisting of Mamá Boa, the manager of a brothel, and La Flamenco, the star of the establishment and virtually her substitute mother. Due to ignorance about immunodeficiency and prejudice in the working-class community, the three end up being expelled from the brothel. From then on, Lidia is consumed by a desire for revenge.
Céspedes’ approach to the LGBTIQ+ world dates back to his second film, Las criaturas que se derriten bajo el sol (The Melting Creatures), winner of the Special Jury Prize in the Latin American Short Film Selection at the 29th FICValdivia, in which he emphasized the protective and everyday dimensions of queer life in often hostile contexts. In La misteriosa mirada del flamenco, this perspective evolves from a tender depiction of Lidia’s world and Mamá Boa’s club, a protected and supportive environment, to a confrontation with social violence, first expressed anonymously and then openly and brutally.
La misteriosa mirada del flamenco, by Diego Céspedes. Chile, France, Germany, Spain, Belgium. 2025, 109’. DCP.
CHILEAN CINEMA SELECTION
FILM AND AUDIOVISUAL STUDENTS’ OFFICIAL CHILEAN SHORT FILM SELECTION
This selection consists of six works by students, produced within the framework of their formal academic training.
Agua Fría (Cold Water), by Meme Cabello and Antonia Martínez Valls, focuses on two immigrant children, Ángel and Kimberly, who transform their van into an imaginary vessel in search of their friend Sofía, who had to return to Colombia.
In @AVRIL, an animated short by Alonso Salas Fernández and Paz Violeta Arancibia, @TÚ remembers an online relationship from his teens and goes on a reflective journey about distance, love, fragility, and uncertainty regarding the whereabouts of the girl who said goodbye, announcing that she would take her own life.
Código Sigma (Sigma Code), by Catalina Covarrubias, is an intimate piece built from four voice-over narrations, approaching urban life around the Santiago subway, centered on the impact of suicide as a reflection of urban alienation.
Jugo en polvo (Drink Mix), by Sofía Flores Pinto, portrays the controlling relationship that a mother has established with her teenage daughter, a dynamic amplified when the woman discovers that her daughter has a girlfriend at school.
Por allá lejos en el tren (Far Away on the Train), by Michelle van Treek Pérez, unfolds through images and stories evoked during a train journey from one region to another, memories that expose the open scars of Chilean memory through abandoned places that tell the country’s hidden railway history.
Querido Panchito (Dear Panchito), by Luis C. Espinoza and Joaquín Ulloa Rivas, narrates the attempt by the residents of Villa Cuatro Álamos, Maipú, to reconstruct a possible love story based on a letter found in one of their streets.
- Agua fría, by Meme Cabello and Antonia Martínez Valls. Chile. 2025. 19’. DCP.
- @AVRIL, by Alonso Salas Fernández and Paz Violeta Arancibia. Chile. 2025. 12’. DCP.
- Código Sigma, by Catalina Covarrubias. Chile. 2025. 20’. DCP.
- Jugo en polvo, by Sofía Flores Pinto. Chile. 2025. 19’. DCP.
- Por allá lejos en el tren, by Michelle van Treek Pérez. Chile. 2025. 19’. DCP.
- Querido Panchito, by Luis C. Espinoza and Joaquín Ulloa Rivas. Chile. 2025. 12’. DCP.
CHILEAN CINEMA SELECTION
CINEMA AND AUDIOVISUAL UNIVERSITY NETWORK (RUCA) SELECTION
In 2024, FICValdivia added a non-competitive showcase of short films created by students from schools belonging to the recently established Cinema and Audiovisual University Network (RUCA). This year’s selection includes the following titles:
Cronos, by Dante Cobian and Nicolás Durán, focuses on the description of impersonal existence in the city of Santiago, an alienated and overcrowded space, that yet allows to come across signs of humanity and warmth in certain areas. In a similar street register, Cualquier Día (Any Day) by Felipe Gallardo uses a slower pace to reflect on death and destiny through Thomas, while his urban surroundings unfold in slow motion.
Días sin fecha (Days Without Dates) by Vanesa Martin is an experimental short film that explores waiting, loss, and the transformation of affection through personal archive footage, by combining fragments of journeys, bonds that changed, and places that now exist only in memory.
Memories are also the main topic in Talcahuano era un lugar triste (Talcahuano Was a Sad Place) by Martina Pérez Verbal, an adaptation of a story by writer Paulina Flores that connects two narratives: one fictional, in which a character recalls his childhood friends, and another in which a father tells his daughters about the thrill of driving through the city where he grew up. No me olvido (I Don’t Forget), by Jorge Chacón, goes further and stages how memory persists despite the country’s widespread amnesia.
Diente de mandarina (Mandarin Tooth), by Santiago Hellwig, is a dialogue-free animated story about an astronaut who lost her crew, her ship, and even her arm, and finds herself alone and stranded on an unknown planet, trying to contact her brother millions of light years away. An equally playful and humorous take is Sebastián Rasjido’s Un viaje completo (A Complete Trip), in which Pollo, the main character, begins to suffer hallucinations after eating a strange brownie, and the completo he was about to eat comes to life and seduces him so as not to be devoured.
In Versos D’água, by Amadis T. Loyer, a young man confronts, through a dream, the big question that has haunted him since childhood. Is he a man or a woman? To find an answer, he revisits his past and forces himself to face his growing desire to be reborn.
In El huevo (The Egg), by Alayah Cavieres, an egg travels silently from the farm to a woman’s kitchen. Its fragility reveals something essential: life, like the shell, is thin and fragile, and always on the verge of breaking.
In a more surreal dimension, Ian Van Kilsdonk’s Mi piel podrida (My Rotten Skin) follows the affliction of a lonely man who cares for his mother and starts to see a weird wound growing on his stomach, as tending to the old lady gets harder. Similarly, in Esto no estaba pensado (This Wasn’t Planned) by Carlos McIntyre, Sofía abandons her relationship and her veganism to embrace a new dark pleasure beyond the screen.
In Tata by Martina Céspedes, family memory is approached as a way to restore the image of her grandfather, a blurred figure for her siblings. To this end, she gathers family testimonies, constructing a sometimes contradictory portrait.
Va cayendo el fruto (The Fruit is Falling), by Valeria Mery and Amira Mujica, is conceptually organized around the pomegranate, both fruit and explosive in Spanish (granada), becomes a double symbol of life and threat in Palestine. From this counterpoint, the short recovers footage from the territory to explore how violence penetrates everyday life, especially for children.
- Cronos, by Dante Cobian and Nicolás Durán. Chile. 2025. 4’. DCP.
- Cualquier día, by Felipe Gallardo. Chile. 2025. 6’. DCP.
- Días sin fecha, by Vanes Martin. Chile. 2025. 6’. DCP.
- Talcahuano era un ligar triste, by Martina Pérez Verbal. Chile. 2025. 3’. DCP.
- Diente de mandarina, by Santiago Hellwig. Chile. 2025. 6’. DCP.
- Un viaje completo, by Sebastián Rasjido. Chile. 2025. 6’. DCP.
- Versos D’água, by Amadis T. Loyer. Chile, Brazil. 6’. DCP.
- El huevo, by Alayah Cavieres. Chile. 2025. 5’. DCP.
- Esto no estaba pensado, by Carlos McIntyre. Chile. 2025. 6’. DCP.
- Mi piel podrida, by Ian Van Kilsdonk. Chile. 2025. 5’. DCP.
- No me olvido, by Jorge Chacón. Chile. 6’. DCP.
- Tata, by Martina Céspebys. Chile. 2025. 6’. DCP.
- Va cayendo el fruto, by Valeria Mery and Amira Mujica. Chile. 2025. 3’. DCP.
CONTEMPORARY CINEMA PROGRAM
NEW PATHWAYS
The world premiere of Una tristeza fiel (A Faithful Sadness) by Paolo Caro Silva will be displayed in New Pathways, a section focused on avant-garde films and experimental works that explore new possibilities in audiovisual media. The film explores memory through technology, as the director revisits his childhood room using photogrammetry to reveal the impossibility of fully reconstructing memories, highlighting the distortions of both technology and memory.
Una tristeza fiel, by Paolo Caro Silva. Chile. 2025. 15’. DCP.
CONTEMPORARY CINEMA PROGRAM
TRAMAS
Settled in Switzerland for years, Chilean filmmaker Jeannette Muñoz is coming back to FICValdivia after a spotlight on her work in 2018, which featured her latest film at the time, Puchuncaví (2014), as well as Envíos, a series of letters addressed to visual artists that began in 2005. Her latest piece, Fuente Alemana (German Fountain, 2025), focuses on the famous sculpture located at the eastern entrance of Parque Forestal in Santiago, a gift from the German community in 1912 to the nascent Chilean Republic, in gratitude for lands granted to settlers in Wallmapu. The urban, historical, and political significance that this space has acquired is at the center of Jeanette Muñoz’s gaze. In 2004, despite the ban on bathing there, she documented the use that the population makes of it every summer, transforming it into a public swimming pool and ignoring its political significance, just as anonymous bathers enjoyed the beach contaminated with industrial waste in Puchuncaví.
Fuente Alemana, by Jeanette Muñoz. Chile, Switzerland. 2025. 15’. 16mm.
CONTEMPORARY CINEMA PROGRAM
ANIMAMUNDI
Animamundi is a new non-competitive section dedicated to animated short films. It features three works by Chilean filmmakers: Merrimundi by Niles Atallah, and the world premieres of El tamagochi escarlata (The Scarlet Tamagotchi) by Francisco Visceral Rivera and Tether Amarre (Tie) by Matías López.
In El tamagochi escarlata, animator and art director Francisco Visceral Rivera makes his directorial debut. The short follows the chaos unleashed when a student from class 4B has her beloved toy stolen. Iñaki and his turtle companion Cecilio set out to recover it, dressed as 1940s private detectives.
Amarre is also Matías López’s first piece, a fantasy set in a world eaten by darkness. A ghostly interference conveys the tale of two souls who, in their final act of love, cast a spell to become a candle: an eternal flame that defies the infinite gloom.
Merrimundi, the third Chilean film in this showcase is the latest work by Niles Atallah, who attended the festival with his first short, Lucía (2007) in 2009, and his feature Animalia Paradoxa last year, in the Chilean Gala Section. His new work, consistent with the materiality of much of his previous practice, is a fantasy that animates a series of images built from objects of the past, shaping them into a kind of apocalyptic musical. The film had its international premiere this year in the Orizzonti section at the 2025 Venice Film Festival.
Selección chilena Animamundi
- El tamagochi escarlata, de Francisco Visceral. Chile. 2025. 13’. DCP.
- Amarre, de Matías López. Chile. 2025. 3’. DCP.
- Merrimundi, de Niles Atallah. Chile. 2025. 21’. DCP.
SELECTION OF NEW NARRATIVES
EXPANDED CINEMA
At FICValdivia, the Expanded Cinema section opens up space for formats that stretch the limits of audiovisual creation: experiments with new technologies, installations drawn from the visual arts, film made through alternative means, along with audiovisual essays. The pieces of filmmaker, editor, and photographer Sebastián Arriagada, as well as experimental filmmaker Andrea Novoa, both fall within these territories.
With Flujos rectificados (Rectified Flows), Arriagada explores the interstice where data become visual imagery, establishing a direct dialogue between the radio astronomy observation process and AI image generation. In this project, two observation exercises are brought into tension which—while operating on different scales—share a common origin in how they treat noise.
Mientras todo cambia (While Everything Changes), the new work by Andrea Novoa, experiments with material transformations on celluloid, drawing analogies with the aggression inflicted on the earth’s crust. The filmmaker combines 16mm footage, photographic experimentation, and installation, weaving together their textures and languages.
- Mientras todo cambia, by Andrea Novoa. Chile. 2025.
- Flujos rectificados, by Sebastián Arriagada. Chile. 2025.
SELECTION OF NEW NARRATIVES
SIMBIOSIS INMERSIVA
This FICValdivia section is dedicated to immersive experiences that combine film, science, and technology, exploring the relationship between human beings and nature through extended reality, volumetric capture, and interactive devices.
BioGEM XR is the new project by Michael Segeer, Constanza Macaya y Pepe Rovano, which brings together art and science to recreate the microscopic world of bacteria and molecules that nourish and restore ecosystems. The work employs augmented and virtual reality, intertwining images, textures, and immersive experiences to invite viewers to explore the processes that sustain natural life.
BioGEM XR, by Michael Segeer, Constanza Macaya and Pepe Rovano. Chile. 2025. AR + VR 360.
FICValdivia is founded by the Austral University of Chile, produced by the Valdivia Cultural Center for Film Promotion, and organized by the Great City of Valdivia, the Los Ríos Regional Government, and Codeproval. It is funded by the Audiovisual Fund of the Ministry of Cultures, Arts and Heritage with the support of the Programa de Festivales Colaboradores, the Support Program for Collaborating Cultural Organizations (PAOCC), as well as Chile’s Production Development Corporation (CORFO), through the Development Committee of Los Ríos. The festival promotes the development and circulation of audiovisual works of high artistic value. This year, its 32nd edition will take place between October 13 and 19.
Ticket sales information will be announced in the second week of September. For more details, visit https://ficvaldivia.cl/en/.
