Secret Heart

In a bar in Santiago, two old men talk over their past. This is a strange discussion. In fact, they talk of themselves as if they were dead. We don't know what is true or false, what is dream or reality.

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.

From different conversations with relatives, writers and people close to José Donoso, the imaginary is constructed about the life, work and influences of the writer, to later follow his journey through the city by car while he remembers places, situations of his youth and evocations of his childhood.

An ode to Chilean maritime myth and storytelling. Sailors onboard the Lucerna tell stories, but before long their stories intersect.

"Nütuayin Mapu", which in Mapuche language means "Let's recover our land", is a documentary about the Mapuche conflict and the struggle of the Revolutionary Peasant Movement and the inhabitants of Camp Lautaro, who in the face of the precarious Chilean legislation seek to recover the ancestral land that belongs to them through the displacement of fences and land seizure.

Marianne Ayala is the CEO of Groovefield International, an ontological coaching company. She's pregnant, and looking for someone to take her place. The chosen one is Marian Aguayo, a Peruvian cook whom will have to train in 5 days, so she can carry on with her legacy

At the beginning of the summer of 1986, a group of actors and actresses directed by Andrés Pérez, put on the street the play “All these years” presented in front of the Cathedral of Santiago, the Bellavista neighborhood, the La Bandera district, the Parque O'Higgins, Plaza del Mulato and many other places in Santiago. Armed with megaphones, costumes, musical instruments, giant dolls, stilts and banners, they set up shop in different parts of the city where they raised scaffolding on which they climbed to summon the public to witness their show of singing, music, dancing and pantomime in the who told stories that quietly delved into the events of the last years of the military dictatorship at the end of the 1980s. 25 years passed, Andrés Pérez had died and the street actors became references in theater and television, when Flores returned to the eighties images to create this tribute documentary.

Overview of the forestry workers of Valdivia and Panguipulli. Their testimonies reveal the abuse to which they are subjected.

Exchange of nine video letters sent between New York and Santiago since 1982. Fragments that employ associations and reiterations to examine the influence of experience on the creative act.

The images from the landing of the first expedition of the spaceship Columbia are juxtaposed to a reflection on the function of the visual medium, and artistic creation as a whole.

A man spends the night at an hotel in an unnamed city in southern Chile. It's late and he finds himself unable to sleep. He's bored. He feels confused about what to do next. He wishes to eat and to urinate. He's sexually excited. The image of a naked woman appears on the TV screen.

An encounter unites two people with the same name, different lives and a city in common, Talcahuano. Carlos Flores, director of the documentary, attests to a link with Charlie Flowers, writer and rapper, whose real name is also Carlos Flores.

It portrays young people from different social and political classes, and collects their impressions of the context in which they live. The documentary offers a critical view of the youth of the Unidad Popular period, through an audiovisual essay.

Video that records the play "Macías, general essay on power and glory" by Sergio Marras. Monologue in which an actor face the audience to give life to the role of Macías, a dictator of an imaginary country but who suffers from the “misunderstanding” of his detractors and enemies. A text full of profound observations about the despotic use of power. This video participated in the Fifth Franco-Chilean Video Art Meeting, Santiago de Chile, November 1985. U-matic Project

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.