Joaquín Cociña

Following the sudden death of his mother, a mild-mannered but anxiety-ridden man confronts his darkest fears as he embarks on an epic odyssey back home.

After escaping from a religious colony in Chile, Maria seeks shelter in a mansion where she’s taken in by two pigs, its only inhabitants. Like in a stop-motion dream, the universe of the house reacts to her feelings. The animals slowly morph into humans and the house into a dark, menacing world.

Diana is the princess of an ancient kingdom. Her father, King Arthur, forbids love. When Diana falls in love with Lalo, he banishes him. Using a magical bracelet, Diana travels to other worlds in search of her love.

Luis talks about his life in the forest and how he fell in love with Lucía.

Actress and psychologist Antonia Giesen decides to film a script revealed by a voice within the mind of one of her patients. Seeking collaboration with the filmmaking duo León & Cociña, they craft a crossroads of theatre, science fiction, animation and fabulated biopic, populated by parallel worlds and haunted by the shadow of a Chilean Nazi writer as a demonic figure.

Using human corpses and invoking the spirits of two damned Secretaries of State, a girl performs a ritual to free the kingdom of Chile from its feudal heritage.

"Nocturno de Chile" is composed of two videos: "La Cacería" ("The Hunt") and "La Cena" ("The Dinner"). Both videos are adaptations of Roberto Bolaño’s novel by the same title. The videos are meant to be viewed side by side, each video representing an adjacent room. In one room we find a dinner of intellectuals and writers; and in the neighboring room a torture is taking place.

Between 2010 and 2011, Cristóbal León and Joaquín Cociña created the series of short-films “The Third World”. The series is made up of “Padre.Madre”, “EL Templo” and “El Arca”. The films were shown together as a film installation at Upstream Gallery. These films are the foundational chapters of a new creed. They present a savage procession, moving between sacred and intimate, beautiful and horrific, canonical and arbitrary, sublime and bestial. Every film is the beginning of a myth and also its immediate decadence.