{"id":15087,"date":"2026-09-23T17:22:25","date_gmt":"2026-09-23T20:22:25","guid":{"rendered":"https:\/\/ficvaldivia.cl\/33rd-ficvaldivia-announces-chilean-cinema-premieres-featured-in-official-selection-and-parallel-program\/"},"modified":"2026-09-23T17:22:25","modified_gmt":"2026-09-23T20:22:25","slug":"33rd-ficvaldivia-announces-chilean-cinema-premieres-featured-in-official-selection-and-parallel-program","status":"publish","type":"post","link":"https:\/\/ficvaldivia.cl\/en\/33rd-ficvaldivia-announces-chilean-cinema-premieres-featured-in-official-selection-and-parallel-program\/","title":{"rendered":"33rd FICValdivia announces Chilean cinema premieres featured in Official Selection and Parallel Program"},"content":{"rendered":"<ul>\n<li><span style=\"font-weight: 400;\">The new films by Nicol\u00e1s Guzm\u00e1n, Ren\u00e9 Ballesteros, Nicole Costa, and Alba Gaviraghi <\/span><span style=\"font-weight: 400;\">are part of the Official Feature Film Selection.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><span style=\"font-weight: 400;\">Also returning to the Gala section with their new full-length films are Dominga Sotomayor with &#8220;La Perra&#8221;; Cristi\u00e1n S\u00e1nchez with &#8220;La Tierra Invisible&#8221;; Crist\u00f3bal Le\u00f3n and Joaqu\u00edn Coci\u00f1a with &#8220;Princesa Burro&#8221;; Valeria Sarmiento with &#8220;Detr\u00e1s de la Lluvia&#8221;; Crist\u00f3bal Valenzuela Berr\u00edos with &#8220;Coca\u00edna Negra&#8221;; and Sergio Castro San Mart\u00edn with &#8220;Il Cileno.&#8221;<\/span><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><span style=\"font-weight: 400;\">The Valdivia International Film Festival (FICValdivia), which will take place between October 12 and 18, announced its Chilean program. This includes competitive and non-competitive sections, such as the Official Feature Film Selection, the Official Short Film Selection from Latin America and the Caribbean, the Film and Audiovisual Students&#8217; Official Chilean Short Film Selection, as well as contemporary cinema, animation, Chilean Gala, austral cinema showcase, and expanded cinema sections, offering a diverse panorama of premieres.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The announcement was made as part of the opening of <\/span><a href=\"https:\/\/ficvaldivia.cl\/ficvaldivia-vuelve-a-santiago-con-el-doble-de-programacion-habitual\/\"><span style=\"font-weight: 400;\">FICValdivia in Santiago 2026<\/span><\/a><span style=\"font-weight: 400;\">, a film series taking place between September 2 and 5 at Sala K of Universidad Mayor, an institution that for fourth consecutive year has partnered with FICValdivia, reaffirming its commitment to the promotion of local and international cinema. This partnership strengthens the links between the festival and academia, facilitating spaces for exhibition, dialogue, and access to cinema experiences for students, teachers, and the community at large.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The gathering was attended by Daniel Laguna, Executive Secretary of the Audiovisual Promotion Fund of the Ministry of Cultures, Arts and Heritage; Laurent Bogen, Cultural Attach\u00e9 of the French Institute of Chile; Pedro S\u00e1ez and Leonora D\u00edaz, representatives of the Spain Cultural Center; and Universidad Mayor authorities: director of Continuing Education, Mar\u00eda Jos\u00e9 Rivera; dean of the Faculty of Social Sciences and Arts, Sergio Toro; and Film School director, Guillermo Bravo; along with FICValdivia Director, Ra\u00fal Camargo.<\/span><\/p>\n<p><b>Founded by Universidad Austral de Chile, produced by the Valdivia Cultural Center for Film Promotion, and convened by the Great City of Valdivia, the Los R\u00edos Regional Government, and Codeproval, the Valdivia International Film Festival is financed in part by the Audiovisual Fund of the Ministry of Cultures, Arts and Heritage, and the support of the Los R\u00edos Corfo Development Committee. FICValdivia offers audiovisual creators a space for dissemination and competition, along with promoting domestic and international audiovisual production of artistic quality. It is a project under the Law of Cultural Donations. The festival will take place between October 12 and 18, 2026.<\/b><\/p>\n<p><b>OFFICIAL FEATURE FILM SELECTION \u2013 CHILEAN CINEMA PREMIERES<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Competing in the 2026 Official Feature Film Selection will be the Chilean pictures <\/span><i><span style=\"font-weight: 400;\">Lo que Nos Une<\/span><\/i><span style=\"font-weight: 400;\">, by Nicol\u00e1s Guzm\u00e1n; <\/span><i><span style=\"font-weight: 400;\">Los Ni\u00f1os Sin Tierra<\/span><\/i><span style=\"font-weight: 400;\">, by Ren\u00e9 Ballesteros; <\/span><i><span style=\"font-weight: 400;\">No Honey No Money<\/span><\/i><span style=\"font-weight: 400;\">, by Nicole Costa, and <\/span><i><span style=\"font-weight: 400;\">Hijas Unikas<\/span><\/i><span style=\"font-weight: 400;\">, by Alba Gaviraghi.<\/span><\/p>\n<p><b><i>Lo que Nos Une,<\/i><\/b><span style=\"font-weight: 400;\"> by Nicol\u00e1s Guzm\u00e1n, is an approach to melodrama with various backdrops. Its main fictional framework is the story of an adult woman whose love for her eleven-year-old nephew irretrievably leads her to kidnapping, which generates media and judicial uproar. The film builds this story out of different narratives and aesthetics: first, from the staging of a reality show that recounts the case; then, with the testimonies recovered by a filmmaker\u00a0 who seeks to turn the event into a fictional drama; and, finally, the shooting of said movie.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Although, <\/span><i><span style=\"font-weight: 400;\">Lo que Nos Une<\/span><\/i><span style=\"font-weight: 400;\"> at first observes and confronts certain forms of documentary creation, this is only the initial level of its rumminations. As in Guzm\u00e1n&#8217;s previous works \u2014 in <\/span><i><span style=\"font-weight: 400;\">V\u00edctima Potencial<\/span><\/i><span style=\"font-weight: 400;\"> and also in <\/span><i><span style=\"font-weight: 400;\">Me Gustar\u00eda que Vivieras mi Juventud de Nuevo<\/span><\/i><span style=\"font-weight: 400;\"> \u2014 the exchange of roles and spaces is key. From that primary area of inquiry and research, the picture unfolds in different directions, making formats dialogue and overlap with one other, while the boundaries between fiction and reality become blurred.<\/span><\/p>\n<p><b><i>Los Ni\u00f1os Sin Tierra<\/i><\/b><span style=\"font-weight: 400;\"> is the new feature film by documentary filmmaker Ren\u00e9 Ballesteros, a director based in France whose previous work, <\/span><i><span style=\"font-weight: 400;\">Los Sue\u00f1os del Castillo<\/span><\/i><span style=\"font-weight: 400;\"> (2018), collected the award for Best Picture in the Chilean Feature Film competition at FICValdivia 25. Like his previous film <\/span><i><span style=\"font-weight: 400;\">La Quemadura<\/span><\/i><span style=\"font-weight: 400;\"> (2010), the work addresses circumstances that relate to child neglect \u2014 explicitly in the first and more subtly in the second. In his new production, Ballesteros follows the trail of two adults in France and Sweden who, after a chance event, begin the search for their biological mothers: Chilean women who are victims of illegal adoptions.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Their experiences add to those of thousands of children who were taken out of the country between 1960 and 1990. However, in this film Ballesteros&#8217; intention is not to summarize the consequences of this practice, but to investigate the individual wounds of this process \u2014 both in the children and in their mothers \u2014 to reflect on identity and the unresolved issues of the past. <\/span><i><span style=\"font-weight: 400;\">Los Ni\u00f1os Sin Tierra<\/span><\/i><span style=\"font-weight: 400;\"> had its world premiere in competition at the 48<\/span><span style=\"font-weight: 400;\">th<\/span><span style=\"font-weight: 400;\"> Cin\u00e9ma du R\u00e9el Festival.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In <\/span><b><i>No Money No Honey<\/i><\/b><span style=\"font-weight: 400;\">, Nicole Costa rescues and brings up to date the life of M\u00e1xima Mauricio, an Argentine sex worker who settled in Miami in the late 90s and who now, from New York, tries to connect with the trans community amid the economic precariousness and alcoholic loneliness in which she survives. Interspersing VHS footage with current records of the protagonist, the picture offers a deep exploration of cultural identity, examining the relationship between Latin American ways of being and the United States \u2014 a concept that Costa had already addressed in her previous feature film, <\/span><b><i>El Viaje de Monalisa<\/i><\/b><b>,<\/b><span style=\"font-weight: 400;\"> premiered at FICValdivia 26. In this case, the documentary is organized as a painful journey into the protagonist&#8217;s past \u2014 stored in a handful of video tapes \u2014 narrated in first person, as a testimonial diary. In the film&#8217;s logic, this voyage also involves a reunion with her former troupe in Miami; from that point of view, the itinerary is not only traveled individually \u2014 where it becomes particularly intimate and stark \u2014 but also collectively. Despite the permanent interplay between past and present, the movie never adopts a pessimistic perspective; on the contrary, the character&#8217;s dignity prevails, even in the journey towards Maxima&#8217;s childhood that surfaces in the final sections of the story.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In <\/span><b><i>Hijas \u00danikas<\/i><\/b><span style=\"font-weight: 400;\">, Alba Gaviraghi&#8217;s first feature film, the narrative moves from the contingent to the social, without the latter functioning as a mere frame of reference to insert the intimacy linked to the search for the father. The movie is set during the protests of secondary students in 2006, a context that seems to take visibility away from Antonia&#8217;s situation, a young high school student determined to resume contact with her father \u2014 of whom she knows absolutely nothing \u2014 so that he authorizes her travel to Argentina, for her class trip.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Formally part <\/span><i><span style=\"font-weight: 400;\">of the coming-of-age <\/span><\/i><span style=\"font-weight: 400;\">genre, the film is based on the director&#8217;s teenage experiences. Therefore, its approach is intimate and, at the same time, generational: music, urban tribes, codes, and ways of coming together unfold at the same time as the protagonist&#8217;s motivations. Out of this territory, an awareness of autonomy emerges, driving Antonia to undertake the search for her father on her own, while at the same time, she participates in student protests against a State that has also left her largely orphaned.<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Lo que Nos Une<\/i><\/b><span style=\"font-weight: 400;\">, by Nicol\u00e1s Guzm\u00e1n. Chile. 2026. 72 minutes. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Los Ni\u00f1os Sin Tierra<\/i><\/b><span style=\"font-weight: 400;\">, by Ren\u00e9 Ballesteros. France, Chile. 2026. 97 minutes. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>No Money No Honey<\/i><\/b><span style=\"font-weight: 400;\">, by Nicole Costa. United States, Chile. 84 minutes. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Hijas \u00danikas<\/i><\/b><span style=\"font-weight: 400;\">, by Alba Gaviraghi. Chile, Mexico, Germany, Argentina. 2026. 90 minutes. DCP.<\/span><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><b>OFFICIAL SHORT FILM SELECTION FROM LATIN AMERICA AND THE CARIBBEAN \u2013 CHILEAN CINEMA PREMIERES<\/b><\/p>\n<p><span style=\"font-weight: 400;\">This selection brings together four short films that, in very different ways, find how to approach their characters, territories, and conflicts through observation.<\/span><\/p>\n<p><b><i>Part\u00edculas Inconmensurables<\/i><\/b><span style=\"font-weight: 400;\">, by Francisco Rojas, is an observational short in which the camera aligns with the rhythms\u00a0 of rivers. Gradually, the image acquires an almost abstract dimension that is transformed \u2014 thanks to a delicate sound work \u2014 into an immersive and almost tactile experience, thus deepening a material connection present in the director&#8217;s previous works.<\/span><\/p>\n<p><b><i>Una Fortaleza<\/i><\/b><span style=\"font-weight: 400;\">, by Alba Gaviraghi, will show at FICValdivia shortly after screening at the 82<\/span><span style=\"font-weight: 400;\">nd<\/span><span style=\"font-weight: 400;\"> edition of the Venice International Film Festival. The film can be understood as a thematic complement to <\/span><i><span style=\"font-weight: 400;\">Hijas \u00danikas<\/span><\/i><span style=\"font-weight: 400;\">, Gaviraghi&#8217;s full-length picture competing in the Official Feature Film Selection, as it goes through a similar historical framework: high school student protests. However, here the anecdote is specific and addresses the choice and political commitment of a young woman who must decide if she continues to participate in the actions of a high school occupied for months by its students.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Manuel Vlastelica\u2019s<\/span><b><i> Toda la Quietud Posible<\/i><\/b><span style=\"font-weight: 400;\"> (2026) puts into images a peripheral city that has equally relegated objects, waste, and identities. The piece is an exercise in observation \u2014 mainly visual, yet also auditory \u2014 on everything that is in front of our eyes yet somehow remains invisible, perhaps out of the sheer will not to want to see. As the minutes go by, this succession of flora, fauna, and urban still life seems to take on an existence of its own, contained in its dynamics of loneliness and neglect.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">En <\/span><b><i>D\u00eda de Sacrificio<\/i><\/b><span style=\"font-weight: 400;\">, Benjam\u00edn Leiter and Carolina Guti\u00e9rrez return as co-directors to FICValdivia, holding to the observational logic behind <\/span><i><span style=\"font-weight: 400;\">Atajo<\/span><\/i><span style=\"font-weight: 400;\"> (2024), their first joint work (directed by Leiter, with Guti\u00e9rrez as director of photography), which translated the dynamics of a <\/span><i><span style=\"font-weight: 400;\">western<\/span><\/i><span style=\"font-weight: 400;\"> to the Chilean countryside. In their new production, the duo stages a natural itinerary that gives an account of an ecosystem&#8217;s beauty and precariousness, synthesized in a day in the life of a marine otter.<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Day of Sacrifice<\/i><\/b><span style=\"font-weight: 400;\">, by Benjam\u00edn Leiter and Carolina Guti\u00e9rrez. Chile. 2026. 20 minutes. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Part\u00edculas Inconmensurables<\/i><\/b><span style=\"font-weight: 400;\">, by Francisco Rojas. Chile. 2026. 10 minutes. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Toda la Quietud Posible<\/i><\/b><span style=\"font-weight: 400;\">, by Manuel Vlastelica. Chile. 2026. 18 minutes. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Una Fortaleza<\/i><\/b><span style=\"font-weight: 400;\">, by Alba Gaviraghi. Chile. 2026. 14 minutes. DCP.<\/span><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><b>OFFICIAL CHILDREN&#8217;S SHORT FILM SELECTION FROM LATIN AMERICA AND THE CARIBBEAN \u2013 CHILEAN CINEMA PREMIERES<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Antonia P\u00e9rez Wagner successfully participated in the second version of Professional MATCH! in FICValdivia 2025, an instance seeking to connect regional artists with audiovisual companies from all over Chile. <\/span><b><i>\u00bfA D\u00f3nde se Fue el Jambato?<\/i><\/b><span style=\"font-weight: 400;\"> emerged from that gathering. With a carefully crafted watercolor aesthetic, the animated short narrates the search that a snail-eating snake, marsupial frogs, a spectacled bear, and a condor undertake to find the jambato: a harlequin toad, once abundant in the Ecuadorian Andes, which has progressively disappeared until declared extinct.<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>\u00bfA D\u00f3nde se Fue el Jambato?<\/i><\/b><span style=\"font-weight: 400;\"> by Antonia P\u00e9rez Wagner. Chile, United Kingdom. 2025. 3 minutes. DCP.<\/span><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><b>OFFICIAL SELECTION OF CHILEAN SHORT FILMS BY FILM AND AUDIOVISUAL STUDENTS<\/b><\/p>\n<p><span style=\"font-weight: 400;\">This selection draws together young perspectives that explore identity, memory, and the changes that accompany transitions into new stages.<\/span><\/p>\n<p><b><i>Donde Anida la Lluvia<\/i><\/b><span style=\"font-weight: 400;\">, by Ignacio Dur\u00e1n, is set in the southern town of Fresia, where three teenage friends spend their last moments before finishing high school. There, the constant rain and daily routines become the only refuge to distract them from the uncertainty the future holds for them.\u00a0<\/span><\/p>\n<p><b><i>Ma\u00f1ana Vendr\u00e1 el Silencio<\/i><\/b><span style=\"font-weight: 400;\">, by Mat\u00eda Lorenzo, tells the story of Trizado, a depressed film student who, through a sensory journey through various image archives, tries to reflect on his sexual orientation, memory, and guilt.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Sonio Leonelli\u2019s<\/span><b><i> C\u00f3mo Cortarse el Pelo<\/i><\/b><span style=\"font-weight: 400;\"> is the story of Dalia, a 13-year-old girl who is determined to cut her long braids despite her family&#8217;s disapproval. Prevented from achieving her goal, the protagonist enters an extra-cinematic space that gives her full authority to fulfill her desire.<\/span><\/p>\n<p><b><i>Caer\u00e1 el Morro y Marchar\u00e1n sus Hijos<\/i><\/b><span style=\"font-weight: 400;\">, by Oscar Mar\u00edn, is a poetic inquiry into what defines the city of Arica. Structured from postcard images, the work places El Morro \u2014 a geological formation \u2014 as the central symbol of a blurred identity.\u00a0<\/span><\/p>\n<p><b><i>Casa Propia<\/i><\/b><span style=\"font-weight: 400;\">, by Conam Calder\u00f3n, Alejandra Bravo, and Mar\u00eda Jos\u00e9 Rojas, recounts the bond and shared memories of a retired mother and Conam \u2014 her non-binary child \u2014 which come to the surface shortly before they leave the family home.\u00a0<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Caer\u00e1 el Morro y Marchar\u00e1n sus Hijos<\/i><\/b><span style=\"font-weight: 400;\">, by Oscar Mar\u00edn Sep\u00falveda. Chile. 2026. 13 minutes. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Casa Propia<\/i><\/b><span style=\"font-weight: 400;\">, by Alejandra Bravo, Conam Calder\u00f3n, Mar\u00eda Jos\u00e9 Rojas. Chile. 2026. 14 minutes. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>C\u00f3mo Cortarse el Pelo<\/i><\/b><span style=\"font-weight: 400;\">, by Sonio Leonelli. Chile. 2026. 10 minutes. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Donde Anida la Lluvia<\/i><\/b><span style=\"font-weight: 400;\">, by Ignacio Dur\u00e1n Vidal. Chile. 2026. 20 minutes. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Ma\u00f1ana Vendr\u00e1 el Silencio<\/i><\/b><span style=\"font-weight: 400;\">, by Mat\u00eda Lorenzo. Chile. 2026. 17 minutes. DCP.<\/span><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><b>CHILEAN CINEMA PROGRAM<\/b><\/p>\n<p><b>CHILEAN GALA<\/b><\/p>\n<p><span style=\"font-weight: 400;\">The 2026 Chilean Gala section, dedicated to domestic productions out of competition, will screen new works by prominent Chilean directors, such as <\/span><i><span style=\"font-weight: 400;\">Coca\u00edna Negra<\/span><\/i><span style=\"font-weight: 400;\">, by Crist\u00f3bal Valenzuela;<\/span><i><span style=\"font-weight: 400;\"> La Tierra Invisible<\/span><\/i><span style=\"font-weight: 400;\">, by Cristi\u00e1n S\u00e1nchez; <\/span><i><span style=\"font-weight: 400;\">Il Cileno<\/span><\/i><span style=\"font-weight: 400;\">, by Sergio Castro San Mart\u00edn; <\/span><i><span style=\"font-weight: 400;\">Detr\u00e1s de la Lluvia<\/span><\/i><span style=\"font-weight: 400;\">, by Valeria Sarmiento; <\/span><i><span style=\"font-weight: 400;\">La Perra<\/span><\/i><span style=\"font-weight: 400;\">, by Dominga Sotomayor; and <\/span><i><span style=\"font-weight: 400;\">Princesa Burro<\/span><\/i><span style=\"font-weight: 400;\">, by Crist\u00f3bal Le\u00f3n and Joaqu\u00edn Coci\u00f1a.<\/span><\/p>\n<p><b><i>Coca\u00edna Negra<\/i><\/b><span style=\"font-weight: 400;\">, the novel documentary by Crist\u00f3bal Valenzuela, reconstructs the persona and assassination of Chilean chemist Eugenio Berr\u00edos, who actively collaborated with the DINA, a secret police in the Pinochet dictatorship, in the manufacture of chemical weapons. The main source for the film were microcassette tapes collecting invaluable testimony to gauge Berr\u00edos&#8217; character, shortly before his disappearance and the subsequent discovery of his remains, in April 1995, half-buried on the beach of El Pinar, near Montevideo. That material had been in the hands of the judiciary since 1991.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">As he had already done in part in his previous documentary, <\/span><i><span style=\"font-weight: 400;\">Isla Alien<\/span><\/i><span style=\"font-weight: 400;\"> (2023), Valenzuela here resorts to fictional reenactments, with actor Claudio Arredondo starring as Berr\u00edos \u2014 a role the actor had already played in the Chilean-Uruguayan co-production <\/span><i><span style=\"font-weight: 400;\">Matar a Todos<\/span><\/i><span style=\"font-weight: 400;\"> (2007), by Esteban Schroeder. In <\/span><i><span style=\"font-weight: 400;\">Coca\u00edna Negra<\/span><\/i><span style=\"font-weight: 400;\">, there is abundant archival material and testimonies from those who knew the man, but the audio included in the movie \u2014 with multiple everyday conversations \u2014 works as a device that gives the documentary a terrifying closeness. To work with it dramatically, the picture recreates these sequences, synchronizing them with the participation of other actors. It held its world premiere at the Guadalajara International Film Festival (FICG) 2026.<\/span><\/p>\n<p><b><i>La Tierra Invisible<\/i><\/b><span style=\"font-weight: 400;\">, Cristi\u00e1n S\u00e1nchez\u2019s new feature, began its circuit in FICValdivia in 2025, when it was selected for Austral Meetings, Future Chilean Cinema, in the Finaliza-Postproducci\u00f3n category. In that same edition, S\u00e1nchez premiered <\/span><i><span style=\"font-weight: 400;\">El Santo Oficio<\/span><\/i><span style=\"font-weight: 400;\"> in the Gala section, a motion picture about a film director&#8217;s tribulations \u2014 both budgetary and supernatural \u2014 while making his auteur film. After screening at the Buenos Aires International Independent Film Festival (BAFICI), <\/span><i><span style=\"font-weight: 400;\">La Tierra Invisible<\/span><\/i><span style=\"font-weight: 400;\"> is also joining the Gala section at FICValdivia.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The story once again intertwines the relationships between the living and the dead, with Mapuche cosmogony as the point of connection, and, in this case, seemingly drawing elements of the Greek myth of Orpheus. A <\/span><i><span style=\"font-weight: 400;\">kimche<\/span><\/i><span style=\"font-weight: 400;\"> (a wise man in Mapuche society) bursts into a medical clinic where some patients have died due to an invisible evil entity. The kimche transports them to the world of the dead, where the deceased are evaluated by spirits who allow two of them to return to life.\u00a0<\/span><\/p>\n<p><b><i>Il Cileno<\/i><\/b><span style=\"font-weight: 400;\">, the latest fiction full-length by Sergio Castro San Mart\u00edn (<\/span><i><span style=\"font-weight: 400;\">Mil Pedazos<\/span><\/i><span style=\"font-weight: 400;\">), is inspired by <\/span><i><span style=\"font-weight: 400;\">Aldo Mar\u00edn Carne de Ca\u00f1\u00f3n<\/span><\/i><span style=\"font-weight: 400;\">, an investigation by journalist Juan Crist\u00f3bal Guarello into a left-wing activist who, after leaving Chile in the aftermath the coup d&#8217;\u00e9tat, died in Turin in 1977, blown to pieces by the very bomb he was trying to detonate, as part of the actions of the Italian anarchist group Azione Rivoluzionaria.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Castro fictionalizes the story, setting the events in Turin in 1976, at a time when Italy was experiencing a deep economic crisis reflected in persistent demonstrations and strikes \u2014 a period known as the &#8220;Years of Lead.&#8221; In this context, Aldo&#8217;s character emerges as that of a pariah: someone with a precarious family life and disconnected from society \u2014 like Miguel, the central character in <\/span><i><span style=\"font-weight: 400;\">Mil Pedazos <\/span><\/i><span style=\"font-weight: 400;\">\u2014 for whom violence appears as the only way to reconnect with family affections. <\/span><i><span style=\"font-weight: 400;\">Il Cileno<\/span><\/i><span style=\"font-weight: 400;\"> premiered worldwide at the recent Locarno International Film Festival, where its lead actor, Camilo Arancibia, received the Boccalino d&#8217;Oro award for Best Performance.<\/span><\/p>\n<p><b><i>Detr\u00e1s de la Lluvia<\/i><\/b><span style=\"font-weight: 400;\"> is, literally, the farewell picture by Valeria Sarmiento, one of the most important filmmakers in Chilean cinema. To a large extent, it is also a tribute to the memories and literary influences that filled the director&#8217;s childhood in Valpara\u00edso, a free dimension of memory that intersects with a criminal intrigue. The movie is set in the present day \u2014 but shot in a contrasting, hazy black and white that evokes the aesthetics of classic film noir \u2014 and focuses on the story of Sof\u00eda, a young woman who has just finished her psychology studies in Valpara\u00edso and is preparing to come back to Valdivia, her hometown. Her return to the South coincides with the rape and murder of a girl, a situation that forces her to recall episodes of sexual abuse suffered during her own childhood.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">From that starting point, <\/span><i><span style=\"font-weight: 400;\">Detr\u00e1s de la Lluvia<\/span><\/i><span style=\"font-weight: 400;\"> freely weaves together memories, observations of local customs, and police investigations, constructing a portrait of internal dynamics, historical oversights, and those things communities choose to keep silent. As in his film <\/span><i><span style=\"font-weight: 400;\">Secretos<\/span><\/i><span style=\"font-weight: 400;\"> (2008), the work is also a look at certain less-than-exemplary Chilean idiosyncrasies. The feature had its world premiere in the Official Competition of the 60<\/span><span style=\"font-weight: 400;\">th<\/span><span style=\"font-weight: 400;\"> Karlovy Vary International Film Festival.<\/span><\/p>\n<p><b><i>La Perra<\/i><\/b><span style=\"font-weight: 400;\">, the recent full-length picture by Dominga Sotomayor, portrays the relationship between a middle-aged woman and an abandoned puppy she calls Yuri, the name of the daughter she never had. This dynamic becomes symbiotic and gives the woman a degree of protection against an essentially aggressive environment.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The movie is based on the eponymous novel by Colombian author Pilar Quintana but transporting the action from Cali to an island off the coast of the Biob\u00edo Region. This is a fairly free adaptation that remains faithful to the dramatic essence of the original work: the maternal relationship the woman develops with her pet and, moving beyond any pathological interpretation of that bond, the depiction of a socially repressed motherhood. This psychological framework is complemented by the way Sotomayor deals with the island&#8217;s landscape as another instrument of aggression \u2014 an approach that echoes references to Roberto Rossellini&#8217;s <\/span><i><span style=\"font-weight: 400;\">Stromboli<\/span><\/i><span style=\"font-weight: 400;\"> (1950). The film held its world premiere at the Cannes Film Festival, where its canine star, Yuri, won the prestigious Palm Dog Award.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">After their appearance in the Gala section of FICValdivia 31 with <\/span><i><span style=\"font-weight: 400;\">Los Hiperb\u00f3reos<\/span><\/i><span style=\"font-weight: 400;\">, Crist\u00f3bal Le\u00f3n and Joaqu\u00edn Coci\u00f1a return with <\/span><b><i>Princesa Burro<\/i><\/b><span style=\"font-weight: 400;\">. The story is set once again in the world of children&#8217;s literature \u2014 especially the realm of Charles Perrault \u2014 with a free adaptation of <\/span><i><span style=\"font-weight: 400;\">Donkeyskin<\/span><\/i><span style=\"font-weight: 400;\">, a tale first published in 1694.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">As in <\/span><i><span style=\"font-weight: 400;\">Los Hiperb\u00f3reos<\/span><\/i><span style=\"font-weight: 400;\">, Le\u00f3n and Coci\u00f1a are committed to a hybrid materiality that combines live performances with stop-motion animation. The picture stars Antonia Giesen as Diana, the princess of an ancient kingdom who must contend with her father&#8217;s ban on love, following the queen&#8217;s sudden death. When Diana falls in love with Lalo, a wandering traveler who has given her a magic bracelet, the king banishes him, prompting the princess to embark on a long journey to get him back.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The first film adaptations of this tale were made in the first decade of the 20th century, yet the most famous was 1970s musical directed by Jacques Demy and starring Catherine Deneuve. In Le\u00f3n and Coci\u00f1a\u2019s approach, this reimagining of the story deepens their ongoing exploration of materiality and cinematic construction, already present in their earlier work, exposing the film&#8217;s own manufacturing processes as it unfolds.\u00a0<\/span><\/p>\n<ul>\n<li><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 <\/span><b><i>Coca\u00edna Negra<\/i><\/b><span style=\"font-weight: 400;\">, by Crist\u00f3bal Valenzuela Berr\u00edos. Chile, Uruguay. 2026. 84 minutes. DCP.<\/span><\/li>\n<li><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 <\/span><b><i>Detr\u00e1s de la Lluvia<\/i><\/b><span style=\"font-weight: 400;\">, by Valeria Sarmiento. Chile. 2026. 97 minutes. DCP.<\/span><\/li>\n<li><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 <\/span><b><i>Il Cileno<\/i><\/b><span style=\"font-weight: 400;\">, by Sergio Castro San Mart\u00edn. Chile, Italy, Switzerland. 2026. 99 minutes. DCP.<\/span><\/li>\n<li><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 <\/span><b><i>La Perra<\/i><\/b><span style=\"font-weight: 400;\">, by Dominga Sotomayor. Chile, Brazil. 2026. 112 minutes. DCP.<\/span><\/li>\n<li><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 <\/span><b><i>La Tierra Invisible<\/i><\/b><span style=\"font-weight: 400;\">, by Cristi\u00e1n S\u00e1nchez. Chile. 2026. 70 minutes. DCP.<\/span><\/li>\n<li><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 <\/span><b><i>Princesa Burro<\/i><\/b><span style=\"font-weight: 400;\">, by Crist\u00f3bal Le\u00f3n and Joaqu\u00edn Coci\u00f1a. Chile, France, Netherlands, Uruguay, Germany. 2026. 90 minutes. DCP.<\/span><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><b>ANIMAMUNDI\u00a0<\/b><\/p>\n<p><b><i>La Baraja de Myriam<\/i><\/b><span style=\"font-weight: 400;\">, by Cristina Hadwa, tells the story of an 11-year-old girl who must get married, cross the ocean, and leave Palestine to settle in an unfamiliar land in the Chilean foothills. In this new environment \u2014 as despoiled as her own homeland \u2014 the protagonist discovers her powers and tries to pass them on to her great-granddaughter. The film was part of the selection for the 64<\/span><span style=\"font-weight: 400;\">th<\/span><span style=\"font-weight: 400;\"> edition of the Cartagena de Indias International Film Festival.<\/span><\/p>\n<p><b><i>Gacela Gazette<\/i><\/b><span style=\"font-weight: 400;\">, by Cote Ram\u00edrez and Sim\u00f3n Bucher, draws on the physical medium of newspaper to construct a universe dominated by the media. Within it, the figure of a young athlete called &#8220;La Gacela&#8221; (The Gazelle) is molded, one whose voice must rise above the clamor of the press.\u00a0<\/span><\/p>\n<p><b><i>\u00c1nima del Amanecer<\/i><\/b><span style=\"font-weight: 400;\">, by Mar\u00eda Ignacia Hargreaves and Guillermo Arias, is a strikingly visual take on an underground labyrinth ruled by machines and darkness. There, two forced companions must trust each other to face danger and find a path toward the light.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In <\/span><b><i>Noize<\/i><\/b><span style=\"font-weight: 400;\">, by Javier Rodr\u00edguez Pino, three young women who disappeared in the early 1990s return transformed into sparks and static. A spectral figure leads a ritual of echoes and slides where noise gives way to a space for vengeance.<\/span><\/p>\n<p>&nbsp;<\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>\u00c1nima del Amanecer<\/i><\/b><span style=\"font-weight: 400;\">, by Mar\u00eda Ignacia Hargreaves, Guillermo Arias. Chile. 2026. 13 minutes. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Gacela Gazette<\/i><\/b><span style=\"font-weight: 400;\">, by Sim\u00f3n Bucher, Cote Ram\u00edrez. Chile. 2026. 5 minutes. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>La Baraja de Myriam<\/i><\/b><span style=\"font-weight: 400;\">, by Cristina Hadwa. Chile. 2026. 15 minutes. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Noize<\/i><\/b><span style=\"font-weight: 400;\">, by Javier Rodr\u00edguez Pino. Chile. 2026. 10 minutes. DCP.<\/span><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><b>AUSTRAL CINEMA SHOWCASE\u00a0<\/b><\/p>\n<p><span style=\"font-weight: 400;\">This section features audiovisual productions that strengthen perspectives from southern Chile, with five selected works for this edition.<\/span><\/p>\n<p><b><i>Receta para un Desastre, el Caso Queque<\/i><\/b><span style=\"font-weight: 400;\">, by Mai Pazkal Gonz\u00e1lez Castro, is a comedy of errors that begins with a burnt cake and an absurd fight between Tito and Feli. That small incident reveals an old tension between them that will have to wait until dawn to be resolved.<\/span><\/p>\n<p><b><i>Una Orilla para Jugar<\/i><\/b><span style=\"font-weight: 400;\">, by Israel Salinas, highlights the work of a community school that offers a space for children marked by displacement and state neglect, on land located between a wood-processing plant and a wetland. Set at the crossroads between two opposing ways of relating to nature, this short film chronicles the small forms of resistance silently contained in play, listening, and shared learning.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Violeta Bernal A.\u2019s<\/span><b><i> Las Piedras que se Esconden en el R\u00edo<\/i><\/b><span style=\"font-weight: 400;\"> tells the tale of the director&#8217;s return to her family home in Valpara\u00edso after receiving a VHS tape with recordings she made of her mother during her childhood. This footage, along with other tapes, will help her reconstruct a family portrait, laying bare the weight of time and memory.<\/span><\/p>\n<p><b><i>Garant\u00eda de por Vida<\/i><\/b><span style=\"font-weight: 400;\">, by Daniel Lobos, is a work of fiction set in an artificial city where everything is discarded. In this setting, Astrid, a plastic girl, must escape before she is scrapped because of her defective shoes. After her getaway, she finds shelter in a forgotten shoe store, where she meets Don Aurelio, an old copper craftsman who teaches her that no one is disposable.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">In <\/span><b><i>Inercia<\/i><\/b><span style=\"font-weight: 400;\">, by Francisca Beas, Javiera \u2014 a rising modern dancer \u2014 lands her first duet in an erotic-themed performance. However, rehearsals trigger memories of past sexual abuse, forcing her to confront her trauma while struggling not to let it affect the work with her partner.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0<\/span><\/p>\n<ul>\n<li><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span><b><i>Receta para un Desastre, el Caso Queque<\/i><\/b><span style=\"font-weight: 400;\">, by Mai Pazkal Gonz\u00e1lez Castro. Chile. 2026. 13 minutes. DCP.<\/span><\/li>\n<li><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span><b><i>Una Orilla para Jugar<\/i><\/b><span style=\"font-weight: 400;\">, by Israel Salinas. Chile. 2026. 30 minutes. DCP.<\/span><\/li>\n<li><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span><b><i>Las Piedras que se Esconden en el R\u00edo<\/i><\/b><span style=\"font-weight: 400;\">, by Violeta Bernal A. Chile. 2026. 18 minutes. DCP.<\/span><\/li>\n<li><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span><b><i>Garant\u00eda de por Vida<\/i><\/b><span style=\"font-weight: 400;\">, by Daniel Lobos. Chile. 2026. 13 minutes. DCP.<\/span><\/li>\n<li><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span><b><i>Inercia<\/i><\/b><span style=\"font-weight: 400;\">, by Francisca Beas Miranda. Chile. 2025. 10 minutes. DCP.<\/span><\/li>\n<\/ul>\n<p><span style=\"font-weight: 400;\">\u00a0<\/span><\/p>\n<p><b>CONTEMPORARY CINEMA SHOWCASE<\/b><\/p>\n<p><span style=\"font-weight: 400;\">The Contemporary Cinema Showcase features two out-of-competition selections that explore novel formal and narrative possibilities: <\/span><i><span style=\"font-weight: 400;\">New Pathways<\/span><\/i><span style=\"font-weight: 400;\"> presents two Chilean pieces that focus on experimenting with the materiality of film, and <\/span><i><span style=\"font-weight: 400;\">Animamundi<\/span><\/i><span style=\"font-weight: 400;\"> screens four animated works that address memory, identity, violence, and resistance, from diverse visual universes.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><b>NEW PATHWAYS \u2013 CHILEAN FILM PREMIERES<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Macarena Ortiz\u2019s<\/span><b><i> Pleurotus<\/i><\/b><span style=\"font-weight: 400;\"> works with a series of film archives intervened with the Pleurotus ostreatus fungus. Their proliferation alters the emulsion, modifies the frame, and distorts the sound, transforming the nature of the material, shifting its expressive capabilities toward a new sensibility.<\/span><\/p>\n<p><b><i>Un Film Apacheta<\/i><\/b><span style=\"font-weight: 400;\">, by Roberto Coll\u00edo, is a collage of images that highlights materiality and tradition surrounding religiosity. Through elements such as a pilgrim&#8217;s ritual, a hand cast in plaster, and various sound designs, the work establishes a dialectic between the ephemeral and the perishable.\u00a0<\/span><\/p>\n<ul>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Pleurotus<\/i><\/b><span style=\"font-weight: 400;\">, by Macarena Ortiz. Mexico, Chile. 2026. 8 minutes. DCP.<\/span><\/li>\n<li style=\"font-weight: 400;\" aria-level=\"1\"><b><i>Un Film Apacheta<\/i><\/b><span style=\"font-weight: 400;\">, by Roberto Coll\u00edo. Chile. 2026. 40 minutes. DCP.<\/span><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><b>SHORT FILM SHOWCASE FOR FAMILIES<\/b><\/p>\n<p><b>P\u00c1SATE UNA PEL\u00cdCULA\u00a0<\/b><\/p>\n<p><span style=\"font-weight: 400;\">This section features <\/span><b><i>Inflorescencia<\/i><\/b><span style=\"font-weight: 400;\">, by Santiago Feli\u00fa Zalaquett, which follows the adventure of Ichu and Hualo, two figures crafted from desert plants and flower heads, as they prepare for a journey across the desert. Upon catching a reflection, Ichu notices the difference in their petals, sparking deep insecurity before setting out. However, a dangerous encounter with a wild Cururo manages to dispel that feeling, allowing them to reach their destination and finally grow as cacti.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">\u00a0<\/span><\/p>\n<ul>\n<li><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span><b><i>Inflorescencia<\/i><\/b><span style=\"font-weight: 400;\">, by Santiago Feli\u00fa Zalaquett. Chile. 2026. 4 minutes. DCP.\u00a0<\/span><\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<p><b>NEW NARRATIVES<\/b><\/p>\n<p><b>EXPANDED CINEMA<\/b><\/p>\n<p><span style=\"font-weight: 400;\">Three Chilean works feature in this section that offers experiments with new technologies, film installations, cinema by other means, and audiovisual essays.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Fernando Valenzuela&#8217;s <\/span><b><i>NEORE(AI)LISMO<\/i><\/b><span style=\"font-weight: 400;\"> works with photographs and fragments of Italian cinema from the 1940s to 1960s, transformed into visual fields that expand in space. This gesture alters both scale and duration: what was once an instant now acquires a new temporal presence, suspended between stillness and movement, past and present.<\/span><\/p>\n<p><b><i>Chicas Terremoto: No Movemos la Tierra Pero la Cambiamos<\/i><\/b><span style=\"font-weight: 400;\">, by Mariana Carrasco and Javiera Luna, could act as a manifesto for this girls&#8217; collective, which burst onto the scene with an exhibition and performance against street harassment. Through interventions of Super 8 footage of a protest action \u2014 hand-processed, projected in its original 8mm format, and scored live with analog and digital synthesizers \u2014 the film stock is transformed into a ritual element, and the cinematic experience, into a collective act of reparation.<\/span><\/p>\n<p><b><i>En un Lugar Aparte. Memoria Cin\u00e9fila de Germ\u00e1n Arestiz\u00e1bal<\/i><\/b><span style=\"font-weight: 400;\">, can be understood as a motion picture made of movies that were never shot; scenes that Arestiz\u00e1bal found in movies and reimagined through drawing, shifting frames, faces, and landscapes into a universe all his own. Amid stars, trains, recognizable characters, and scenes, his work constructs a sort of affective archive of Chilean popular culture, where images from cinema coexist with those of a daily life marked by literature, friendship, and imagination. The Expanded Cinema project reclaims this transition between the screen and the paper \u2014 incorporating, as well, Arestiz\u00e1bal\u2019s own footprints in the cinema of Ra\u00fal Ruiz \u2014 to look anew at a work that seems to ask: what remains of a film when that which abides is no longer movement, but memory?<\/span><\/p>\n<ul>\n<li><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span><b><i>NEORE(AI)LISMO<\/i><\/b><span style=\"font-weight: 400;\">, by Fernando Valenzuela Quinteros. Chile.\u00a0<\/span><\/li>\n<li><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 <\/span><b><i>Chicas Terremoto<\/i><\/b><i><span style=\"font-weight: 400;\">: <\/span><\/i><b><i>No Movemos la Tierra Pero la Cambiamos<\/i><\/b><span style=\"font-weight: 400;\">, by Mariana Carrasco and Javiera Luna. Chile.\u00a0<\/span><\/li>\n<li><span style=\"font-weight: 400;\"> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <\/span><b><i>En un Lugar Aparte. Memoria Cin\u00e9fila de Germ\u00e1n Arestiz\u00e1bal<\/i><\/b><span style=\"font-weight: 400;\">. Chile.\u00a0<\/span><\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>The new films by Nicol\u00e1s Guzm\u00e1n, Ren\u00e9 Ballesteros, Nicole Costa, and Alba Gaviraghi are part of the Official Feature Film Selection. Also returning to the Gala section with their new full-length films are Dominga Sotomayor with &#8220;La Perra&#8221;; Cristi\u00e1n S\u00e1nchez with &#8220;La Tierra Invisible&#8221;; Crist\u00f3bal Le\u00f3n and Joaqu\u00edn Coci\u00f1a with &#8220;Princesa Burro&#8221;; Valeria Sarmiento with&hellip;<\/p>\n","protected":false},"author":18,"featured_media":14999,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[19],"tags":[],"class_list":["post-15087","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-19","description-off"],"_links":{"self":[{"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/posts\/15087","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=15087"}],"version-history":[{"count":0,"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/posts\/15087\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/media\/14999"}],"wp:attachment":[{"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/media?parent=15087"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/categories?post=15087"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ficvaldivia.cl\/en\/wp-json\/wp\/v2\/tags?post=15087"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}