With lauded Chilean filmmaker Maite Alberdi recently parlaying her Oscar nominated doc “The Mole Agent,” into the successful Netflix comedy series “A Man on the Inside,” created by Michael Schur and starring Ted Danson, it’s increasingly apparent that heartfelt and varied Chilean stories have sturdy legs to travel.
From tackling the country’s vicious dictatorship to honing in on intimate personal narratives while shattering taboos, Chilean documentary filmmakers continue to push boundaries and adapt to the pulse of broader social cues, committing to wide-ranging themes that not only educate, but enthral.
This year, four visceral Chilean features will showcase to an industry audience at the country’s fifth consecutive Cannes Doc showcase, with 11 additional projects brought to market by the Chilean delegation, including the latest from Venice Critics’ Week Grand Prize Winner Tana Gilbert (“Malqueridas”), “Burning Daddy” (“Papito Corazón”).
“Chilean documentaries are pressing many different buttons today, many emotions, with interesting proposals both for its narrative and its form,” Chiledoc director Paula Ossandon told Variety.
“There is creativity, there is originality in the points of view, there is sensitivity in the stories. These characteristics are visible and recognized internationally. In that sense, Cannes Docs has been a window to the world for Chilean documentaries. Co-productions have been forged there, projects have grown and received awards.”
“This year we get there with diverse films, with strong characters who are internally mobilized. The consequences caused to children who were taken from their families and given up for adoption, emotionally abusive relationships, the mixture of fantasy with reality, both in the imagination of its protagonists and in the way in which their stories are presented, sneak onto the screen. Cinematographic languages mix and give rise to daring and aesthetic proposals. Chilean documentary production is abundant and its proposal is completely vibrant,” she added.
The Chilean Docs showcase will be held on Monday, May 19 at the Palais des Festivals.
Chile Doc Selections
“The Grand Illusion” (“La gran ilusión”), Sebastián Pereira
Produced by Chile’s Gatoperro Films and La Copa Feliz, the film fuses documentary and fiction, following Cuban actor Roberto as he wanders Havana’s storied streets believing he’s been cast in a Netflix series. Increasingly high stakes present, the film conjures the parallel strife of Chile and Cuba.
“There’s a deep brotherhood between Chile and Cuba, forged by a history of shared struggles and ideals,” Pereira relayed, admitting the desire to create the film came after meeting Cuban creatives, in hopes of “reconnecting with dreams that once moved us: the longing for a less unequal, more supportive society, where cinema could also be a tool to imagine the collective.”
“No Money No Honey,” Nicole Costa
Argentine sex worker Máxima explores the past through old VHS tapes. A childhood dosed with trauma meets an agency-fuelled trek toward liberation in a film that parts ways with the old guard to summon a fresh look at the profession. Produced by Chile’s Mimbre Films and Nicole Costa Films, with co-production credits to Argentina’s Brava Cine.
“Our film takes a significant risk by presenting a direct, uncompromising look at sex work, distancing itself from conservative or superficial narratives,” says producer Daniela Camino. “Consent and sexual play are key – which contrasts radically with the realm of sexual abuse and exploitation, which occur in the complete absence of consent. Through an intimate account, Máxima tells us how sex became a survival strategy for her, as well as a source of exploration, fun and personal pleasure.”
“The Tiger of the East” (El tigre del este”), Jorge Acevedo
A young Chilean cowboy sets out to achieve his dream of becoming a musician. Self-taught and determined, the film follows his journey to deliver his music to Los Tigres del Norte.
Produced by Chile’s Yareta Films and Queltehue Films, the doc “narrates the difficult path we’ve all had to follow to achieve our dreams. Through an observational and narrative style, it uses ranchera music as a distinctive element throughout the film, following the journey of a humble Chilean musician in his quest to achieve glory in Mexico,” according to producer Mixie Araya.
“Landless Children” (“Los niños sin tierra”), René Ballesteros
Adopted in Europe, two men set out to explore their roots, taking one to Mapuche territory and the other to a land he’s long forgotten. The two delve into complicated emotions in this film from the Cinema du Reel’s Joris Ivens Award Winner, Ballesteros (“La Quemadura). Produced by France’s Les Films D’Ici and Chile’s La Madre and La Ballesta, the project plums its subjects grief, curiosity and identity.
Further Chilean Documentaries at the Marché du Film:
“Burning Daddy” (“Papito corazón), Tana Gilbert
Through portraits, court records and scattered memories, a family uses whimsy and imagination to reconstruct a faulty father, coming to terms with the violence and trauma he inflicted. Produced by Chile’s Errante, Germany’s Dirk Manthey Films and Spain’s Isolda Films.
“Knowing Your Nature,” Francisca Silva
A tranquil and interactive mixed-reality experience that simulates a native forest, coaxing viewers down disparate paths toward enlightenment. Produced by María Jose Díaz at Chile’s Galgo Storytelling.
“The Letelier File” (“Expediente Letelier”), Rafael Valdeavellano and Nicolás Acuña
A true crime series that delves into the 1976 terror plot that killed Pinochet adversary Orlando Letelier, unspooling a vast and ominous network of covert operations. Written by Julio Rojas (“Case 63”) and produced by La Ventana Cine (“Chicago Boys”).
“Black Cocaine” (“Cocaína negra”), Cristóbal Valenzuela
Unearthed audio recordings of Pinochet-aligned biochemist Eugenio Barríos coax the tale of his violent and notorious reign creating bioweapons and illicit drugs to aid the regime. Chile’s Blume and Uruguay’s Passaparola produce.
“The Last Witness” (“El último testigo”), Francesc Relea
A nod to Santiago-born photographer Luis Poirot, whose vivid black and white stills continue to preserve Chile’s poignant political moments alongside its quotidian life. Chile’s Villano and Spain’s What’s Up Doc Produce.
“The Capture” (“La captura”), Rafael Valdeavellano
Recounting the pursuit and capture of German preacher Paul Schäfer, who fronted Colonia Dignidad – a colony known for torture and murder of Pinochet defectors – the film, produced by Chile’s La Ventana Cine, unpacks the trauma and fortitude required to see the case through.
“Artifacts of War” (“Artefactos de guerra”), Jorge Cabellero
The filmmakers explore the impact of non-lethal weapons and the role they play on society at large in this doc that combines reality with fiction, taking place at a weapons fair. Produced by Spain’s Artefacto Films and Chile’s Cangrejo Films.
“A Troop of Bears” ( “Un Ejército de osos”), Christian Martínez, Pachi Bustos and Paola Castillo
The son of a father detained, then disappeared by Chile’s military dictatorship comes face-to-face with the man who turned him in, the two explore themes of betrayal, state violence, guilt and redemption in the film produced by Chile’s Errante and Canada’s Ocho.
“The Conference” (“La conferencia”), Rodrigo Marín
Four revolutionaries are forced to surrender to Pinochet forces on state TV, betraying their movement. Hunted by military police and sentenced to death by their comrades, only two survive to attempt to reconstruct their lives. Produced by Chile’s Propaganda Cine.
“Dysphoria Football Club” (Disforia fútbol club”), Inti Lorca
The doc follows the first trans, non-binary soccer team in Chile, tracking the highs and lows of the club that transformed the sport, leaving a weighty legacy. Produced by Chile’s Cinespecie.
“The Criminal Record of Madame Wittmann” (“El prontuario de Madame Wittmann), Nicolás Videla and Anastasia Benavente
Trans cabaret icon Evelyn Wittmann returns to Chile and the local trans community attempts to assist in helping her find a lost documentary filmed during a police raid, in hopes memory and justice prevail. Chile’s Cinespecie produces.