Diluvio

"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.

In "Los Andes", a restless primal spirit takes possession of an office room. Drawings appear on the walls, plant-like forms sprout from the computer and overgrow the desktop. As it finds it way trough the office space, the mysterious entity transforms into the limbs of a giant and dissolves again.

Actress and psychologist Antonia Giesen decides to film a script revealed by a voice within the mind of one of her patients. Seeking collaboration with the filmmaking duo León & Cociña, they craft a crossroads of theatre, science fiction, animation and fabulated biopic, populated by parallel worlds and haunted by the shadow of a Chilean Nazi writer as a demonic figure.

One summer day the animals of the forest are invited to a party. They eat a ton of cake and dance all night long. When the party is over they find that all of the trees they use for shelter and food are gone. Strange creatures have stolen their homes, so they decide to go search for them.

An animation film in which two papier-mâché puppets are stalked in a sequence of sexual, bestial, and solemn acts. A ceremony which presents the beginning of a myth and its immediate decadence. (Part of the trilogy "The Third World." The films of the series "The Third World" are the foundational chapters of a new creed. They present a procession moving between sacred and intimate, beautiful and horrific, canonical and arbitrary.)

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.

Between 2010 and 2011, Cristóbal León and Joaquín Cociña created the series of short-films “The Third World”. The series is made up of “Padre.Madre”, “EL Templo” and “El Arca”. The films were shown together as a film installation at Upstream Gallery. These films are the foundational chapters of a new creed. They present a savage procession, moving between sacred and intimate, beautiful and horrific, canonical and arbitrary, sublime and bestial. Every film is the beginning of a myth and also its immediate decadence.

Jaime Guzmán, the main ideologist of the Pinochet dictatorship and author of the Chilean Constitution, slips into a witch's dream. She confronts her different personifications and tries to drive away her visitor using witchcraft. She curses, sings, dances and reintroduces herself in alternative versions of herself.

"Nocturno de Chile" is composed of two videos: "La Cacería" ("The Hunt") and "La Cena" ("The Dinner"). Both videos are adaptations of Roberto Bolaño’s novel by the same title. The videos are meant to be viewed side by side, each video representing an adjacent room. In one room we find a dinner of intellectuals and writers; and in the neighboring room a torture is taking place.

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.

A stately home, built in 1922, is now a dilapidated stage where memories and history are present in the old home movies starring those that once inhabited it.

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.

Several reels of film are buried in a forest in sourthern Chile. Ten years later the films are unearthed from the soil and projected. Ghosts have appeared on the surface of the decaying celulloid, they are the protagonists of Niles Atallah's earlier feature films "Lucia" and "Rey". The fictional characters have returned to haunt the images, peering through the layers of earth, as if interested in us, the spectators who watch them. Who is looking at who? Why have these characters returned? What do they want? The film is a secret code written by the earth itself.

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…

A series of shorts drawn with charcoal about characters that are destroyed within the narrative and the drawing animated process.

In a world eaten by darkness, a ghostly interference conveys the tale of two souls who, in their final act of love, cast a spell to become a candle: An eternal flame that defies the infinite gloom. Through the distorted echo, its light flickers like a whisper of resistance in an endless abyss.

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.