Monitos a mano

"Golpe a golpe" (Family coup) was a Chilean television sitcom from the 1970s and 1980s. In this series, the family of the stern anti-communist dictator Augusto Pinochet found themselves forced to share their home with the spirit of the late former socialist president Salvador Allende, who was portrayed by a puppet. This short film aims to salvage this show's existence by extracting fragments from its surviving material.

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.

Lucía remembers the summer when she fell in love with Luis and her fear of the dark.

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

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.

Inspired by real events, "Bestia" enters the life of a secret police agent in the military dictatorship in Chile. The relationship with her dog, her body, her fears and frustrations, reveal a macabre fracture in her mind and a country.

Pedro Lemebel, the writer and visual artist, defeated a marginal childhood to become one of the first to shake up Chile’s conservative society during Pinochet’s dictatorship. Dressed in feather boas, stilettos and a sharp tongue, he staged revolutionary performances that defied the era’s terror, he said what no one wanted to hear in a homophobic, repressed and militarized country.

A family composed of three generations of women live in an old house in the neighborhood of Ñuñoa. On one hand, Leonor must decide her future, on the other hand, Monica must decide if she sells the house in which they have lived their entire lives while Emilia, must face her Alzheimer’s disease.

Lucía is a young woman who works as a seamstress in a factory and lives with her father in an old house in Santiago, Chile. The film occurs in December 2006 during the weeks that take place from the ex-dictator Pinochet’s funeral to Christmas Eve. Through the simple observation of Lucía’s daily life, the spectator is allowed access into a hidden and neglected world of a generation of Chileans striving to recover from the military dictatorship.

The list of fantastic, mythical animals compiled by Carl Linnaeus in his seminal 18th century work Systema Naturae could well be the seed of Niles Atallah’s Animalia Paradoxa – an eccentric tale set in a post-apocalyptic world that follows a strange creature struggling to survive. Dressed in rags and a gas mask, moving like an alien dancer, Animalia roams through an abandoned building – crawling and stretching across concrete, plastic, waste. She laboriously carries and fills up an array of empty bottles to enjoy a modest bath. The camera eye lingers on her with compassion and explores the architectures of trash at an agonising pace. We know in our hearts that Animalia is a human-amphibian longing for the sea…

The story about Swedish ambassador in Chile - Harald Edelstam - and his heroic actions to protect the innocent people from the execution during and after the military coup on September 11th 1973.

A twisted utopia unfolds, as singing cherubs melt to the sound of decay. Crafted by a sentient machine from the future, it unveils its own version of paradise.

In the nineteenth century, a French adventurer sets off to establish a kingdom in the inhospitable South of Chile, uniting the feared Mapuche under him. The response of the Chilean army is devastating.

An enigmatic figure, half-goddess, half-child, combining the smoothness of a doll and the materiality of clay, will be our guide as we cross time and space, and our history. - N. Feodoroff

A woman, an artist and dancer, sets out to reclaim her childhood memories shared with her late grandmother—a bond forged through their mutual passion for painting. Through the delicate recovery of her grandmother’s floral works, she engages in a silent dialogue with the gestures of an ancient practice. She conjures a fictional exchange, a spellbinding journey between dimensions. This intimate quest transcends disciplines, seeking intergenerational connection and answers.

A crime has occurred in room 4B! A classmate has had a priceless and precious toy stolen: the Scarlet Tamagotchi. So Iñaki and his turtle friend Cecilio transform themselves into 1940s private detectives to solve the mystery. However, they will have to face dark forces that will not make their task easy.