{"id":14286,"date":"2025-10-06T14:22:33","date_gmt":"2025-10-06T17:22:33","guid":{"rendered":"https:\/\/ficvaldivia.cl\/?p=14286"},"modified":"2025-10-06T14:22:33","modified_gmt":"2025-10-06T17:22:33","slug":"32nd-ficvaldivia-announces-chilean-cinema-releases-in-its-official-selection-in-competition-and-parallel-program","status":"publish","type":"post","link":"https:\/\/ficvaldivia.cl\/en\/32nd-ficvaldivia-announces-chilean-cinema-releases-in-its-official-selection-in-competition-and-parallel-program\/","title":{"rendered":"32nd FICValdivia announces Chilean cinema releases in its Official Selection in Competition and Parallel Program"},"content":{"rendered":"<ul>\n<li aria-level=\"1\"><b>As part of the Official Feature Selection, new films by Camila Jos\u00e9 Donoso, Diego Soto, Karin Cuyul, Dubi Cano and Samantha Cabrera will make their world premieres.<\/b><\/li>\n<li aria-level=\"1\"><b>Directors Ignacio Ag\u00fcero and Ernesto D\u00edaz Espinoza celebrate their return to Gala with new feature films, respectively <\/b><b><i>Carta a mis padres muertos<\/i><\/b><b> and <\/b><b><i>Diablo<\/i><\/b><b>. The category is rounded out with the world debut of <\/b><b><i>El santo oficio<\/i><\/b><b>, by Cristi\u00e1n S\u00e1nchez Garfias and <\/b><b><i>La misteriosa mirada del flamenco, by <\/i><\/b><b>Diego C\u00e9spedes, winner of <\/b><b><i>Un Certain Regard<\/i><\/b><b> at Cannes\u00a02025 and Chilean nominee for the Oscar and Goya Awards in their international categories.<\/b><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">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.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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<\/span> <span style=\"font-weight: 400;\">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.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The event was attended by Alfonso De Urresti Longton, Senator of the Los R\u00edos 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. Mar\u00eda Jos\u00e9 Bello, Director of Artistic Creation representing the Austral University of Chile; Ra\u00fal Camargo, Director of FICValdivia; Alejandro Ugarte, President of the Asociaci\u00f3n de Productores Independientes (Independent Producers Association); and finally, two members of the French Chilean Institute: Laurent Bogen, Cultural Attach\u00e9, and Mat\u00edas Robledo, Cultural Coordinator.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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 R\u00edos Regional Government, under the auspices of the Austral University of Chile.<\/span><\/p>\n<p><b>OFFICIAL FEATURE SELECTION<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Filmmaker Camila Jos\u00e9 Donoso has attended FICValdivia with all of her feature films. Her first movie, <\/span><i><span style=\"font-weight: 400;\">Naomi Campbel<\/span><\/i><span style=\"font-weight: 400;\"> (2013)\u2014co-directed with Nicol\u00e1s Videla\u2014received a Jury\u2019s Special Mention in the Official International Feature Film Selection. <\/span><i><span style=\"font-weight: 400;\">Casa Roshell<\/span><\/i><span style=\"font-weight: 400;\"> (2017) followed with a Special Jury Prize in the same category, and later, <\/span><i><span style=\"font-weight: 400;\">Nona, si me mojan, yo los quemo<\/span><\/i><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Nona. If They Soak Me, I\u2019ll Burn Them<\/span><\/i><span style=\"font-weight: 400;\">, 2019), won the first edition of Official Future Chilean Cinema Selection and participated in the International Feature Film Selection during the 26<\/span><span style=\"font-weight: 400;\">th<\/span><span style=\"font-weight: 400;\"> edition. Her new picture, <\/span><b><i>Antitropical<\/i><\/b><span style=\"font-weight: 400;\">, was also acknowledged in the Completion\/Rough-cut category in the Future Chilean Cinema Selection of <\/span><i><span style=\"font-weight: 400;\">Encuentros Australes<\/span><\/i><span style=\"font-weight: 400;\"> during the 31<\/span><span style=\"font-weight: 400;\">st<\/span><span style=\"font-weight: 400;\"> FICValdivia. This year, it has been selected for the Official Feature Selection.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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 Jos\u00e9 Donoso has persistently chosen to collaborate with non-professional actresses, and <\/span><b><i>Antitropical<\/i><\/b><span style=\"font-weight: 400;\"> 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 \u201c<\/span><i><span style=\"font-weight: 400;\">caf\u00e9s con piernas<\/span><\/i><span style=\"font-weight: 400;\">\u201d (literally coffee with legs).<\/span><\/p>\n<p><b><i>Antitropical<\/i><\/b><span style=\"font-weight: 400;\">, by Camila Jos\u00e9 Donoso. Chile. 2025. 93\u2019 DCP.<\/span><\/p>\n<p><i><span style=\"font-weight: 400;\">Muertes y maravillas<\/span><\/i><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Deaths and Wonders<\/span><\/i><span style=\"font-weight: 400;\">), Diego Soto\u2019s 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, <\/span><b><i>La corazonada<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">The Premonition<\/span><\/i><span style=\"font-weight: 400;\">), Soto subtly structures the narrative around references to Shakespeare\u2019s <\/span><i><span style=\"font-weight: 400;\">The Tempest<\/span><\/i><span style=\"font-weight: 400;\">. 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 <\/span><b><i>La corazonada <\/i><\/b><span style=\"font-weight: 400;\">won the AT\u00d3MICA Postproduction Prize in the Completion category of the Future Chilean Cinema Selection.<\/span><\/p>\n<p><b><i>La corazonada<\/i><\/b><span style=\"font-weight: 400;\">, by Diego Soto. Chile. 2025. 78\u2019. DCP.\u00a0<\/span><\/p>\n<p><b><i>La vida que vendr\u00e1<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">The Life That Will Come)<\/span><\/i><span style=\"font-weight: 400;\">, Karin Cuyul\u2019s second feature film is the third Chilean piece in competition. It marks its director\u2019s return to FICValdivia, after <\/span><i><span style=\"font-weight: 400;\">Historia de mi nombre <\/span><\/i><span style=\"font-weight: 400;\">(<\/span><i><span style=\"font-weight: 400;\">Story of my Name<\/span><\/i><span style=\"font-weight: 400;\">) in the 26<\/span><span style=\"font-weight: 400;\">th<\/span><span style=\"font-weight: 400;\"> edition\u2014Official International Feature Selection\u2014and <\/span><i><span style=\"font-weight: 400;\">Notas sobre el futuro<\/span><\/i><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Notes on the Future<\/span><\/i><span style=\"font-weight: 400;\">) in 2023\u2014Official Latin American Short Film Selection\u2014. 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.\u00a0<\/span><\/p>\n<p><b><i>La vida que vendr\u00e1<\/i><\/b><span style=\"font-weight: 400;\">, by Karin Cuyul. Chile, Colombia. 2025. 93\u2019. DCP.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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\u2019s fantasy collides with the imminence of a total solar eclipse, an apparent abyss between dream and reality. Set in Ays\u00e9n Region, Dubi Cano and Samantha Cabrera\u2019s <\/span><b><i>Un eclipse y el caos<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">An Eclipse and Chaos<\/span><\/i><span style=\"font-weight: 400;\">) carefully follows the rhythms of time and nature, in the same way Cano\u2019s earlier feature <\/span><i><span style=\"font-weight: 400;\">Desierto no cierto<\/span><\/i><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Uncertain Desert<\/span><\/i><span style=\"font-weight: 400;\">, 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<\/span> <b><i>Un eclipse y el caos<\/i><\/b><span style=\"font-weight: 400;\"> won the Rough-Cut Prize of the Future <\/span><i><span style=\"font-weight: 400;\">Chilean Cinema Selection <\/span><\/i><span style=\"font-weight: 400;\">during FICValdivia\u00a028.<\/span><\/p>\n<p><b><i>Un eclipse y el caos<\/i><\/b><span style=\"font-weight: 400;\">, by Dubi Cano and Samantha Cabrera. Chile. 2025. 70\u2019. DCP.<\/span><\/p>\n<p><b>OFFICIAL YOUTH FEATURE SELECTION<\/b><\/p>\n<p><span style=\"font-weight: 400;\">The world premiere of Diego Fuentes\u2019 <\/span><b><i>Matapanki<\/i><\/b><span style=\"font-weight: 400;\"> 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.<\/span><\/p>\n<p><b><i>Matapanki<\/i><\/b><span style=\"font-weight: 400;\">, by Diego \u201cMapache\u201d Fuentes. Chile. 2025. 71\u2019. DCP.\u00a0<\/span><\/p>\n<p><b>OFFICIAL LATIN AMERICAN SHORT FILM SELECTION (4 FILMS)<\/b><\/p>\n<p><span style=\"font-weight: 400;\">The Official Latin American Short Film Selection includes four Chilean productions: the world premieres of <\/span><b><i>Amor<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Love<\/span><\/i><span style=\"font-weight: 400;\">), by Javiera Cisterna; <\/span><b><i>Carta a Guni <\/i><\/b><span style=\"font-weight: 400;\">(<\/span><i><span style=\"font-weight: 400;\">Letter to Guni<\/span><\/i><span style=\"font-weight: 400;\">), by Diego Acosta; <\/span><b><i>Nunca ver\u00e1s la sombra <\/i><\/b><span style=\"font-weight: 400;\">(<\/span><i><span style=\"font-weight: 400;\">You\u2019ll Never See the Shadow<\/span><\/i><span style=\"font-weight: 400;\">), by Josefa Infante Lozano; and the Latin American premiere of <\/span><b><i>Lengua muerta <\/i><\/b><span style=\"font-weight: 400;\">(<\/span><i><span style=\"font-weight: 400;\">Dead Tongue<\/span><\/i><span style=\"font-weight: 400;\">), by Jos\u00e9 Jim\u00e9nez.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The piece by Javiera Cisterna\u2014who had already found himself in this category in 2021 with <\/span><i><span style=\"font-weight: 400;\">Agua del arroyo que tiembla<\/span><\/i><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Water from the Tremulous Stream<\/span><\/i><span style=\"font-weight: 400;\">)\u2014is 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.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The new work by Diego Acosta (<\/span><i><span style=\"font-weight: 400;\">Al amparo del cielo<\/span><\/i><span style=\"font-weight: 400;\">\u2014<\/span><i><span style=\"font-weight: 400;\">Under the Sky Shelter<\/span><\/i><span style=\"font-weight: 400;\">\u2014Chilean Feature Award at 28FICValdivia) focuses on the figure of the Chilean writer Juan Emar (1893\u20131964). 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.<\/span><\/p>\n<p><b><i>Nunca ver\u00e1s la sombra<\/i><\/b><span style=\"font-weight: 400;\">, 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.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In <\/span><b><i>Lengua Muerta<\/i><\/b><span style=\"font-weight: 400;\">, director Jos\u00e9 Jim\u00e9nez 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 Older\u00f6ck, a former DINA\u2014National Intelligence Directorate\u2014agent who used animals to sexually torture her victims at the infamous \u201cVenda Sexy\u201d detention center in calle Ir\u00e1n, 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.<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Amor<\/i><\/b><span style=\"font-weight: 400;\">, by Javiera Cisterna. Chile. 2025. 8\u2019. DCP.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Carta a Guni<\/i><\/b><span style=\"font-weight: 400;\">, by Diego Acosta. Chile. 2025. 23\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Lengua muerta<\/i><\/b><span style=\"font-weight: 400;\">, by Jos\u00e9 Jim\u00e9nez. Chile. 2025. 25\u2019. DCP.\u00a0<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Nunca ver\u00e1s la sombra<\/i><\/b><span style=\"font-weight: 400;\">, by Josefa Infante Lozano. Chile. 2025. 16\u2019. DCP.<\/span><\/li>\n<\/ul>\n<p><b>CHILEAN CINEMA SELECTION<\/b><\/p>\n<p><b>CHILEAN GALA<\/b><\/p>\n<p><span style=\"font-weight: 400;\">After <\/span><i><span style=\"font-weight: 400;\">Notas para una pel\u00edcula <\/span><\/i><span style=\"font-weight: 400;\">(<\/span><i><span style=\"font-weight: 400;\">Notes For a Film<\/span><\/i><span style=\"font-weight: 400;\">), which premiered worldwide as the Closing Feature at the 29<\/span><span style=\"font-weight: 400;\">th<\/span><span style=\"font-weight: 400;\"> FICValdivia, Ignacio Ag\u00fcero comes back to Gala with his new feature film, <\/span><b><i>Carta a mis padres muertos<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Letter to My Dead Parents<\/span><\/i><span style=\"font-weight: 400;\">), looking back on the last five decades of his life, starting with his dad\u2019s death, which occurred shortly after Salvador Allende\u2019s electoral triumph. Ag\u00fcero has long explored his own history in different ways throughout his career. His personal itinerary has gradually entered his work, particularly since<\/span><i><span style=\"font-weight: 400;\"> El otro d\u00eda<\/span><\/i><span style=\"font-weight: 400;\"> (2012), <\/span><i><span style=\"font-weight: 400;\">Como me da la gana\u00a0II<\/span><\/i><span style=\"font-weight: 400;\"> (2016) or <\/span><i><span style=\"font-weight: 400;\">Nunca sub\u00ed el Provincia<\/span><\/i><span style=\"font-weight: 400;\"> (2019)\u2014respectively <\/span><i><span style=\"font-weight: 400;\">The Other Day<\/span><\/i><span style=\"font-weight: 400;\">, <\/span><i><span style=\"font-weight: 400;\">This Is The Way I Like It II<\/span><\/i><span style=\"font-weight: 400;\">, and <\/span><i><span style=\"font-weight: 400;\">I Never Climbed the Provincia<\/span><\/i><span style=\"font-weight: 400;\">\u2014. In this new film, that intimate evocation is made fully explicit. Organized as an epistolary narrative, Ag\u00fcero 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.<\/span><\/p>\n<p><b><i>Carta a mis padres muertos<\/i><\/b><span style=\"font-weight: 400;\">, by Ignacio Ag\u00fcero. Chile. 2025. 106\u2019. DCP.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">After receiving the Pud\u00fa Lifetime Achievement Award at the 27<\/span><span style=\"font-weight: 400;\">th<\/span><span style=\"font-weight: 400;\"> FICValdivia\u2014an edition in which he also premiered his films<\/span><i><span style=\"font-weight: 400;\"> Date una vuelta en el aire<\/span><\/i><span style=\"font-weight: 400;\"> and <\/span><i><span style=\"font-weight: 400;\">La promesa del retorno <\/span><\/i><span style=\"font-weight: 400;\">(<\/span><i><span style=\"font-weight: 400;\">Take a Spin in the Air<\/span><\/i><span style=\"font-weight: 400;\"> and <\/span><i><span style=\"font-weight: 400;\">The Promise of Return<\/span><\/i><span style=\"font-weight: 400;\">, 2020)\u2014legendary filmmaker Cristi\u00e1n S\u00e1nchez soon returned to the festival with <\/span><i><span style=\"font-weight: 400;\">Voy y vuelvo<\/span><\/i><span style=\"font-weight: 400;\"> (2023) and <\/span><i><span style=\"font-weight: 400;\">Con los pies en la tierra<\/span><\/i><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">With the Feet on the Ground<\/span><\/i><span style=\"font-weight: 400;\">, 2024). Selected in the Encuentros Australes\u00a02023, Completion\/Postproduction category, his new feature film <\/span><b><i>El santo oficio<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">The Holy Office<\/span><\/i><span style=\"font-weight: 400;\">, 2025)<\/span> <span style=\"font-weight: 400;\">follows a writer attempting to shoot his first film without financing, and in the midst of the health crisis caused by the pandemic.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">As in other films by Cristi\u00e1n S\u00e1nchez, the protagonist\u2019s 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\u2019s 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.<\/span><\/p>\n<p><b><i>El santo oficio<\/i><\/b><span style=\"font-weight: 400;\">, by Cristi\u00e1n S\u00e1nchez Garfias. Chile. 2025. 120\u2019. DCP.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">With the premiere of <\/span><i><span style=\"font-weight: 400;\">El pu\u00f1o del c\u00f3ndor<\/span><\/i><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">The Fist of the Condor<\/span><\/i><span style=\"font-weight: 400;\">, 2023) at the Chilean Gala of the 30<\/span><span style=\"font-weight: 400;\">th<\/span><span style=\"font-weight: 400;\"> FICValdivia, the festival reunited with the work of Ernesto D\u00edaz Espinoza, who has been a regular presence since his first feature film <\/span><i><span style=\"font-weight: 400;\">Kiltro<\/span><\/i><span style=\"font-weight: 400;\"> (2006) competed at the 13<\/span><span style=\"font-weight: 400;\">th<\/span><span style=\"font-weight: 400;\"> edition. Since then, he has returned with <\/span><i><span style=\"font-weight: 400;\">Mirageman<\/span><\/i><span style=\"font-weight: 400;\"> (2007), <\/span><i><span style=\"font-weight: 400;\">Mandrill<\/span><\/i><span style=\"font-weight: 400;\"> (2008), <\/span><i><span style=\"font-weight: 400;\">Tr\u00e1iganme la cabeza de la Mujer Metralleta<\/span><\/i><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Bring Me the Head of the Machine Gun Woman<\/span><\/i><span style=\"font-weight: 400;\">,<\/span> <span style=\"font-weight: 400;\">2012), <\/span><i><span style=\"font-weight: 400;\">Redentor<\/span><\/i><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Redeemer<\/span><\/i><span style=\"font-weight: 400;\">, 2014) and <\/span><i><span style=\"font-weight: 400;\">Santiago Violenta<\/span><\/i><span style=\"font-weight: 400;\"> (2014).\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">During the upcoming 32<\/span><span style=\"font-weight: 400;\">nd<\/span><span style=\"font-weight: 400;\"> edition, D\u00edaz will present <\/span><b><i>Diablo<\/i><\/b><span style=\"font-weight: 400;\"> (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.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">As in much of Chilean director Ernesto D\u00edaz\u2019s 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.\u00a0\u00a0<\/span><\/p>\n<p><b><i>Diablo<\/i><\/b><span style=\"font-weight: 400;\">, by Ernesto D\u00edaz. Colombia, Chile. 2025. 91\u2019. DCP.<\/span><\/p>\n<p><b>La misteriosa mirada del flamenco <\/b><span style=\"font-weight: 400;\">(The Mysterious Gaze of the Flamingo), the new film by Diego C\u00e9spedes and Chile\u2019s official submission to the Academy Awards (Best International Feature Film) and the Goya Awards (Best Ibero-American Film), will debut nationally in FICValdivia\u2019s Chilean Gala section, after winning the main prize in the <\/span><i><span style=\"font-weight: 400;\">Un Certain Regard<\/span><\/i><span style=\"font-weight: 400;\"> 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 Mam\u00e1 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.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">C\u00e9spedes\u2019 approach to the LGBTIQ+ world dates back to his second film, <\/span><i><span style=\"font-weight: 400;\">Las criaturas que se derriten bajo el sol<\/span><\/i><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">The Melting Creatures<\/span><\/i><span style=\"font-weight: 400;\">), winner of the Special Jury Prize in the Latin American Short Film Selection at the 29<\/span><span style=\"font-weight: 400;\">th<\/span><span style=\"font-weight: 400;\"> FICValdivia, in which he emphasized the protective and everyday dimensions of queer life in often hostile contexts. In<\/span><b><i> La misteriosa mirada del flamenco<\/i><\/b><span style=\"font-weight: 400;\">, this perspective evolves from a tender depiction of Lidia\u2019s world and Mam\u00e1 Boa\u2019s club, a protected and supportive environment, to a confrontation with social violence, first expressed anonymously and then openly and brutally.<\/span><\/p>\n<p><b><i>La misteriosa mirada del flamenco<\/i><\/b><span style=\"font-weight: 400;\">, by Diego C\u00e9spedes. Chile, France, Germany, Spain, Belgium. 2025, 109\u2019. DCP.<\/span><\/p>\n<p><b>CHILEAN CINEMA SELECTION<\/b><\/p>\n<p><b>FILM AND AUDIOVISUAL STUDENTS\u2019 OFFICIAL CHILEAN SHORT FILM SELECTION<\/b><\/p>\n<p><span style=\"font-weight: 400;\">This selection consists of six works by students, produced within the framework of their formal academic training.<\/span><\/p>\n<p><b><i>Agua Fr\u00eda <\/i><\/b><span style=\"font-weight: 400;\">(<\/span><i><span style=\"font-weight: 400;\">Cold Water<\/span><\/i><span style=\"font-weight: 400;\">), by Meme Cabello and Antonia Mart\u00ednez Valls, focuses on two immigrant children, \u00c1ngel and Kimberly, who transform their van into an imaginary vessel in search of their friend Sof\u00eda, who had to return to Colombia.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In <\/span><b><i>@AVRIL<\/i><\/b><span style=\"font-weight: 400;\">, an animated short by Alonso Salas Fern\u00e1ndez and Paz Violeta Arancibia, @T\u00da 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<\/span> <span style=\"font-weight: 400;\">said goodbye, announcing that she would take her own life.<\/span><\/p>\n<p><b><i>C\u00f3digo Sigma <\/i><\/b><span style=\"font-weight: 400;\">(<\/span><i><span style=\"font-weight: 400;\">Sigma Code<\/span><\/i><span style=\"font-weight: 400;\">), 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.<\/span><\/p>\n<p><b><i>Jugo en polvo <\/i><\/b><span style=\"font-weight: 400;\">(<\/span><i><span style=\"font-weight: 400;\">Drink Mix<\/span><\/i><span style=\"font-weight: 400;\">), by Sof\u00eda 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.<\/span><\/p>\n<p><b><i>Por all\u00e1 lejos en el\u00a0tren<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Far Away on the Train<\/span><\/i><span style=\"font-weight: 400;\">), by Michelle van Treek P\u00e9rez, 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\u2019s hidden railway history.<\/span><\/p>\n<p><b><i>Querido Panchito<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Dear Panchito<\/span><\/i><span style=\"font-weight: 400;\">), by Luis C. Espinoza and Joaqu\u00edn Ulloa Rivas, narrates the attempt by the residents of Villa Cuatro \u00c1lamos, Maip\u00fa, to reconstruct a possible love story based on a letter found in one of their streets.<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Agua fr\u00eda<\/i><\/b><span style=\"font-weight: 400;\">, by Meme Cabello and Antonia Mart\u00ednez Valls. Chile. 2025. 19\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>@AVRIL<\/i><\/b><span style=\"font-weight: 400;\">, by Alonso Salas Fern\u00e1ndez and Paz Violeta Arancibia. Chile. 2025. 12\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>C\u00f3digo Sigma<\/i><\/b><span style=\"font-weight: 400;\">, by Catalina Covarrubias. Chile. 2025. 20\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Jugo en polvo<\/i><\/b><span style=\"font-weight: 400;\">, by Sof\u00eda Flores Pinto. Chile. 2025. 19\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Por all\u00e1 lejos en el\u00a0tren<\/i><\/b><span style=\"font-weight: 400;\">, by Michelle van Treek P\u00e9rez. Chile. 2025. 19\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Querido Panchito<\/i><\/b><span style=\"font-weight: 400;\">, by Luis C. Espinoza and Joaqu\u00edn Ulloa Rivas. Chile. 2025. 12\u2019. DCP.\u00a0<\/span><\/li>\n<\/ul>\n<p><b>CHILEAN CINEMA SELECTION<\/b><\/p>\n<p><b>CINEMA AND AUDIOVISUAL UNIVERSITY NETWORK (RUCA) SELECTION<\/b><\/p>\n<p><span style=\"font-weight: 400;\">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\u2019s selection includes the following titles:<\/span><\/p>\n<p><b><i>Cronos<\/i><\/b><span style=\"font-weight: 400;\">, by Dante Cobian and Nicol\u00e1s Dur\u00e1n, 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,<\/span><b><i> Cualquier D\u00eda<\/i><\/b> <span style=\"font-weight: 400;\">(<\/span><i><span style=\"font-weight: 400;\">Any Day<\/span><\/i><span style=\"font-weight: 400;\">) by Felipe Gallardo uses a slower pace to reflect on death and destiny through Thomas, while his urban surroundings unfold in slow motion.<\/span><\/p>\n<p><b><i>D\u00edas sin fecha<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Days Without Dates<\/span><\/i><span style=\"font-weight: 400;\">) 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.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Memories are also the main topic in <\/span><b><i>Talcahuano era un lugar triste<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Talcahuano Was a Sad Place<\/span><\/i><span style=\"font-weight: 400;\">) by Martina P\u00e9rez 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. <\/span><b><i>No me olvido<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">I Don\u2019t Forget<\/span><\/i><span style=\"font-weight: 400;\">), by Jorge Chac\u00f3n, goes further and stages how memory persists despite the country\u2019s widespread amnesia.<\/span><\/p>\n<p><b><i>Diente de mandarina<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Mandarin Tooth<\/span><\/i><span style=\"font-weight: 400;\">), 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 Sebasti\u00e1n Rasjido\u2019s <\/span><b><i>Un viaje completo<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">A Complete Trip<\/span><\/i><span style=\"font-weight: 400;\">), in which Pollo, the main character, begins to suffer hallucinations after eating a strange brownie, and the <\/span><i><span style=\"font-weight: 400;\">completo<\/span><\/i><span style=\"font-weight: 400;\"> he was about to eat comes to life and seduces him so as not to be devoured.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In <\/span><b><i>Versos D\u2019\u00e1gua<\/i><\/b><span style=\"font-weight: 400;\">, 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.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In <\/span><b><i>El huevo<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">The Egg<\/span><\/i><span style=\"font-weight: 400;\">), by Alayah Cavieres, an egg travels silently from the farm to a woman\u2019s kitchen. Its fragility reveals something essential: life, like the shell, is thin and fragile, and always on the verge of breaking.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In a more surreal dimension, Ian Van Kilsdonk\u2019s <\/span><b><i>Mi piel podrida<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">My Rotten Skin<\/span><\/i><span style=\"font-weight: 400;\">) 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 <\/span><b><i>Esto no estaba pensado<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">This Wasn\u2019t Planned<\/span><\/i><span style=\"font-weight: 400;\">) by Carlos McIntyre, Sof\u00eda abandons her relationship and her veganism to embrace a new dark pleasure beyond the screen.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In <\/span><b><i>Tata<\/i><\/b><span style=\"font-weight: 400;\"> by Martina C\u00e9spedes, 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.<\/span><\/p>\n<p><b><i>Va cayendo el fruto<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">The Fruit is Falling<\/span><\/i><span style=\"font-weight: 400;\">), by Valeria Mery and Amira Mujica, is conceptually organized around the pomegranate, both fruit and explosive in Spanish (<\/span><i><span style=\"font-weight: 400;\">granada<\/span><\/i><span style=\"font-weight: 400;\">),<\/span> <span style=\"font-weight: 400;\">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.<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Cronos<\/i><\/b><span style=\"font-weight: 400;\">, by Dante Cobian and Nicol\u00e1s Dur\u00e1n. Chile. 2025. 4\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Cualquier d\u00eda<\/i><\/b><span style=\"font-weight: 400;\">, by Felipe Gallardo. Chile. 2025. 6\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>D\u00edas sin fecha<\/i><\/b><span style=\"font-weight: 400;\">, by Vanes Martin. Chile. 2025. 6\u2019. DCP.\u00a0\u00a0<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Talcahuano era un ligar triste<\/i><\/b><span style=\"font-weight: 400;\">, by Martina P\u00e9rez Verbal. Chile. 2025. 3\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Diente de mandarina<\/i><\/b><span style=\"font-weight: 400;\">, by Santiago Hellwig. Chile. 2025. 6\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Un viaje completo<\/i><\/b><span style=\"font-weight: 400;\">, by Sebasti\u00e1n Rasjido. Chile. 2025. 6\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Versos D\u2019\u00e1gua<\/i><\/b><span style=\"font-weight: 400;\">, by Amadis T. Loyer. Chile, Brazil. 6\u2019. DCP.\u00a0\u00a0<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>El huevo<\/i><\/b><span style=\"font-weight: 400;\">, by Alayah Cavieres. Chile. 2025. 5\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Esto no estaba pensado<\/i><\/b><span style=\"font-weight: 400;\">, by Carlos McIntyre. Chile. 2025. 6\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Mi piel podrida<\/i><\/b><span style=\"font-weight: 400;\">, by Ian Van Kilsdonk. Chile. 2025. 5\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>No me olvido<\/i><\/b><span style=\"font-weight: 400;\">, by Jorge Chac\u00f3n. Chile. 6\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Tata<\/i><\/b><span style=\"font-weight: 400;\">, by Martina C\u00e9spebys. Chile. 2025. 6\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Va cayendo el fruto<\/i><\/b><span style=\"font-weight: 400;\">, by Valeria Mery and Amira Mujica. Chile. 2025. 3\u2019. DCP.<\/span><\/li>\n<\/ul>\n<p><b>CONTEMPORARY CINEMA PROGRAM<\/b><\/p>\n<p><b>NEW PATHWAYS<\/b><\/p>\n<p><span style=\"font-weight: 400;\">The world premiere of <\/span><b><i>Una tristeza fiel<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">A Faithful Sadness<\/span><\/i><span style=\"font-weight: 400;\">) 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.<\/span> <span style=\"font-weight: 400;\">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.<\/span><\/p>\n<p><b>Una tristeza fiel, <\/b><span style=\"font-weight: 400;\">by Paolo Caro Silva. Chile. 2025. 15\u2019. DCP.<\/span><\/p>\n<p><b>CONTEMPORARY CINEMA PROGRAM<\/b><\/p>\n<p><b>TRAMAS<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Settled in Switzerland for years, Chilean filmmaker Jeannette Mu\u00f1oz is coming back to FICValdivia after a spotlight on her work in 2018, which featured her latest film at the time, <\/span><i><span style=\"font-weight: 400;\">Puchuncav\u00ed<\/span><\/i><span style=\"font-weight: 400;\"> (2014), as well as <\/span><i><span style=\"font-weight: 400;\">Env\u00edos<\/span><\/i><span style=\"font-weight: 400;\">, a series of letters addressed to visual artists that began in 2005. Her latest piece, <\/span><b><i>Fuente Alemana<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">German Fountain,<\/span><\/i><span style=\"font-weight: 400;\"> 2025), focuses on the famous sculpture located at the eastern entrance of Parque Forestal<\/span> <span style=\"font-weight: 400;\">in Santiago, a gift from the German community in 1912 to the nascent Chilean Republic, in gratitude for lands granted to settlers in Wallmapu.<\/span> <span style=\"font-weight: 400;\">The urban, historical, and political significance that this space has acquired is at the center of Jeanette Mu\u00f1oz\u2019s 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 <\/span><i><span style=\"font-weight: 400;\">Puchuncav\u00ed<\/span><\/i><span style=\"font-weight: 400;\">.<\/span><\/p>\n<p><b><i>Fuente Alemana<\/i><\/b><span style=\"font-weight: 400;\">, by Jeanette Mu\u00f1oz. Chile, Switzerland. 2025. 15\u2019. 16mm.<\/span><\/p>\n<p><b>CONTEMPORARY CINEMA PROGRAM<\/b><\/p>\n<p><b>ANIMAMUNDI<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Animamundi is a new non-competitive section dedicated to animated short films. It features three works by Chilean filmmakers: <\/span><b><i>Merrimundi<\/i><\/b><span style=\"font-weight: 400;\"> by Niles Atallah, and the world premieres of<\/span><b><i> El tamagochi escarlata<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">The Scarlet Tamagotchi)<\/span><\/i><span style=\"font-weight: 400;\"> by Francisco Visceral Rivera and <\/span><i><span style=\"font-weight: 400;\">Tether<\/span><\/i> <b><i>Amarre<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Tie<\/span><\/i><span style=\"font-weight: 400;\">) by Mat\u00edas L\u00f3pez.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In <\/span><b><i>El tamagochi escarlata<\/i><\/b><span style=\"font-weight: 400;\">, 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. I\u00f1aki and his turtle companion Cecilio set out to recover it, dressed as 1940s private detectives.<\/span><\/p>\n<p><b><i>Amarre<\/i><\/b><span style=\"font-weight: 400;\"> is also Mat\u00edas L\u00f3pez\u2019s 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.<\/span><\/p>\n<p><b><i>Merrimundi<\/i><\/b><span style=\"font-weight: 400;\">, the third Chilean film in this showcase is the latest work by Niles Atallah, who attended the festival with his first short, <\/span><i><span style=\"font-weight: 400;\">Luc\u00eda<\/span><\/i><span style=\"font-weight: 400;\"> (2007) in 2009, and his feature <\/span><i><span style=\"font-weight: 400;\">Animalia Paradoxa<\/span><\/i><span style=\"font-weight: 400;\"> last year, in the Chilean Gala Section.<\/span> <span style=\"font-weight: 400;\">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.<\/span><\/p>\n<p><b>Selecci\u00f3n chilena Animamundi<\/b><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>El tamagochi escarlata<\/i><\/b><span style=\"font-weight: 400;\">, de Francisco Visceral. Chile. 2025. 13\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Amarre<\/i><\/b><span style=\"font-weight: 400;\">, de Mat\u00edas L\u00f3pez. Chile. 2025. 3\u2019. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Merrimundi<\/i><\/b><span style=\"font-weight: 400;\">, de Niles Atallah. Chile. 2025. 21\u2019. DCP.<\/span><\/li>\n<\/ul>\n<p><b>SELECTION OF NEW NARRATIVES<\/b><\/p>\n<p><b>EXPANDED CINEMA<\/b><\/p>\n<p><span style=\"font-weight: 400;\">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 Sebasti\u00e1n Arriagada, as well as experimental filmmaker Andrea Novoa, both fall within these territories.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">With <\/span><b><i>Flujos rectificados<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">Rectified Flows<\/span><\/i><span style=\"font-weight: 400;\">), 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\u2014while operating on different scales\u2014share a common origin in how they treat noise.<\/span><\/p>\n<p><b><i>Mientras todo cambia<\/i><\/b><span style=\"font-weight: 400;\"> (<\/span><i><span style=\"font-weight: 400;\">While Everything Changes<\/span><\/i><span style=\"font-weight: 400;\">), the new work by Andrea Novoa, experiments with material transformations on celluloid, drawing analogies with the aggression inflicted on the earth\u2019s crust. The filmmaker combines 16mm footage, photographic experimentation, and installation, weaving together their textures and languages.<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Mientras todo cambia<\/i><\/b><span style=\"font-weight: 400;\">, by Andrea Novoa. Chile. 2025.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Flujos rectificados<\/i><\/b><span style=\"font-weight: 400;\">, by Sebasti\u00e1n Arriagada. Chile. 2025.<\/span><\/li>\n<\/ul>\n<p><b>SELECTION OF NEW NARRATIVES<\/b><\/p>\n<p><b>SIMBIOSIS INMERSIVA<\/b><\/p>\n<p><span style=\"font-weight: 400;\">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.<\/span><\/p>\n<p><b><i>\u00a0BioGEM XR <\/i><\/b><span style=\"font-weight: 400;\">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.<\/span><\/p>\n<p><b><i>BioGEM XR<\/i><\/b><b>,<\/b><span style=\"font-weight: 400;\"> by Michael Segeer, Constanza Macaya and Pepe Rovano. Chile. 2025. AR + VR\u00a0360.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">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 R\u00edos 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\u2019s Production Development Corporation (CORFO), through the Development Committee of Los R\u00edos. The festival promotes the development and circulation of audiovisual works of high artistic value. This year, its 32<\/span><span style=\"font-weight: 400;\">nd<\/span><span style=\"font-weight: 400;\"> edition will take place between October 13 and 19.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Ticket sales information will be announced in the second week of September. For more details, visit <\/span><a href=\"https:\/\/ficvaldivia.cl\/en\/\"><span style=\"font-weight: 400;\">https:\/\/ficvaldivia.cl\/en\/<\/span><\/a><span style=\"font-weight: 400;\">.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>As part of the Official Feature Selection, new films by Camila Jos\u00e9 Donoso, Diego Soto, Karin Cuyul, Dubi Cano and Samantha Cabrera will make their world premieres. Directors Ignacio Ag\u00fcero and Ernesto D\u00edaz Espinoza celebrate their return to Gala with new feature films, respectively Carta a mis padres muertos and Diablo. The category is rounded&hellip;<\/p>\n","protected":false},"author":18,"featured_media":14287,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18],"tags":[],"class_list":["post-14286","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","category-18","description-off"],"_links":{"self":[{"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/posts\/14286","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/users\/18"}],"replies":[{"embeddable":true,"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/comments?post=14286"}],"version-history":[{"count":1,"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/posts\/14286\/revisions"}],"predecessor-version":[{"id":14289,"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/posts\/14286\/revisions\/14289"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/media\/14287"}],"wp:attachment":[{"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/media?parent=14286"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/categories?post=14286"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/tags?post=14286"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}