Deaths and Wonders

Following the instructions of a dream, Flavia sets out to make a film about the Chilean Antarctic. Mixing together Jean-Luc Godard, Chris Marker and Pinochet, this film also features an unforgettably hilarious interview with Nanni Moretti! Creative and anarchic cinema at its very best.

Christmas Eve. A woman leaves her car abandoned in the parking lot of Natacha and Germán, who constantly argue over economic issues while their three children roam the city, looking for money to feed street dogs. Natacha can’t stop thinking about what could have happened to that woman, while her children end up getting into real trouble.

In some distant place in Patagonia, NAZARIO (46) takes a lamb to his lair, where he strips it of its meat and guts. After the butchering, he throws the animal's skin into the river, unaware that dark magic will make it reborn to take revenge in a card game, where Nazario's life will now be at stake.

Nieves runs a swimming pool with her son Martin. One summer, a biker falls for her. Things between them don’t seem to work out, until a filming crew arrives at the pool while scouting for locations and the director decides to put Natacha and the biker in her film.

A school boy who excels in math but loves art; a fetishistic businessman; and a compulsive car cleaner whose hobby is to write plays, are attracted, as a siren song, to a large house made into a cultural center. There, a woman, who seems to be a fortune-teller, urges them to look for a centennial tree planted over an ancient indigenous ceremonials site.

An unhappy art student feels deeply disturbed and is unable to sleep. One morning, she hears the trumpeting of an eagle that seems to herald unusual times, which is further materialized with the finding of a copy of The inmaculate conception, the book by Paul Eluard and André Breton, in her apartment's incinerator.

With the Kafkaesque phrase "he who does not seek does not find, but he who does not seek is found", Sánchez begins an episodic story scripted and filmed in only 27 hours where there is virtually a single location that resembles, in a very stylized way, a prison. From there, Alejandro, a young lumpen, interacts with various characters that burst into the space, generating situations that allude to his minimal survival, reselling or exchanging objects. Voy y vuelvo is verbally organized with an anthropological approach, with the same interest of the director for the Mapuche dialect in Cautiverio Feliz and in Date una vuelta en el aire, and from there incorporates elements of popular culture and the notion of purgatory as a recurring figure.