Luis Mora

Surreal gothic comedy about a gambler who wins a strange Chilean mansion and takes his frail wife there.

The life of a right-wing housewife in Chile during the prior days to Salvador Allende's military overthrow.

A parody of anthropology, linguistics, and cultural imperialism. The film follows an unlikely team of linguists into the wilds of an ersatz Patagonia to study the last speakers of a dying language. That language apparently consists of a single word, which therefore means everything.

Ruiz, rediscovering the things of his past in Chile ten years after the Coup, regards them now with the eyes of another world. This other world is cinema, the mechanical gaze of a Super 8 camera. This eye sees very deeply, even beyond reality and brute memory.

This was a man. He lived with his mother. He cared a manor house in the countryside of Chile. One day the man found a bone in the garden. The bone was bored. That was a bone flute. The man with the flute music play. And music song became. The voice of the song begging to seek the other bones of his scattered body. The man and his mother were in those ways of God and hell, looking for the bones that make up the skeleton of that Christian. And give him a Christian burial. And they saw what they saw, they lived what they lived. Many stories lived. And although they did not tell anyone, others told them.

The adventures of an irreverent private detective, while he is dealing with economic problems.

Gustavo Frías invites us on a journey into the human soul, to learn about situations that rarely are seen in to the public eye but are always present within the privacy of ordinary people.