ICTUS

A group of college students gradually disappear, with no explanation.

A middle-class public employee becomes obsessed with the investment alternatives offered by the neo-liberal economic model that Chile has implemented in the late 1970s. Years later he shall face the consequences.of his past decisions.

Olguita and Osvaldo are planning to get married, but she imposes only one condition for this to happen: she must own at least one property from his,regardless of its worth.

A family obsessed with their recent acquisition of a huge color television, postpones the health of one of their daughters. While they worry about locating the device in their tiny home, the daughter's condition worsens and the attention of her illness is delayed until the end of the TV payment.

Portrait of the new face that the center of Santiago acquired during the 80s. The Ahumada walk along with the social and survival demonstrations that converge there. The coexistence of street vendors, preachers, executives, unemployed people from the show who set up an "office" to engage in new jobs, alternates with flippers, topless and cafes that forever changed the heart of the city.

Ten shorts by Thierry De Mey set to music by ten composers with ten danced phrases choreographed by Anne Teresa De Keersmaeker and performed by Rosas. These ten films encapsulate the best of De Keersmaeker and De Mey's collaboration: twenty years of assiduously practicing variation, of perpetually inventing algorithms, filters, and formulae that twist movement and space according to the capricious mathematics of pleasure. All of this is filmed - O Belgitude! - in exquisite flower-filled gardens and under impressionistic drizzling rain.

A portrait of the summer vacation of some young Chileans from different socioeconomic statuses during 1984.

SOMOS + follows a political demonstration by women who rise up with a unified voice against Pinochet’s military regime.

A couple moves from the rural area of the country to the city, looking for better live opportunities during times of unemployment and poverty, in which dreams seem far from coming true.

The contrast of the parallel lives of two women personified in a single actress (Delfina Guzmán). Despite the radical differences between their lives, they are intimately connected to each other. Candelaria is a vagabond in Parque Forestal, crazy but happy. In contrast, in a comfortable and luxurious apartment, lives Laura, who is harassed by the greed of her children and her lover, who will not rest until they strip her of her fortune and expel her from the country.

The reality of pregnant teenagers from popular sectors, the absence of information about how to prevent pregnancy and the lack of knowledge of how their own sexuality works. Their dreams, hopes and the strength they display to assume a radical change for which neither they nor their environment are prepared.