La mamá de mi abuela le contó a mi abuela
Gathered by a theater company, a small town in Chile called Villa Alegre, looks deep into its origins and myths to tell their own history through a play.
Ignacio Agüero
Casts & Crew
Héctor Noguera
Also Directed by Ignacio Agüero
The house of the director has a door out to the sidewalk. This gate separates the inside from the outside. The interior contains the filmmaker's personal story and his world of objects, thoughts and imaginations. Outer space contains the city of Santiago de Chile. The stories of the world inside the house are interrupted when the doorbell rings unknown and thus come into the film.
A director's love letter to his neighborhood: its people, his house and his family.
Tells the story of a group of Chilean children who discover a larger reality and a different world through the cinema. Each Saturday, Alicia Vega transforms the chapel of Lo Hermida into a film screening room as she conducts a workshop for children under the auspices of the Catholic church. The hundred or so children involved had never seen a movie, and in the workshop they see and learn about the cinema: photograms and moving images, projection, camera angles and movement, film genres, and much more. And they watch movies: Chaplin, Disney, Lamorisse's 'The Red Balloon,' the Lumieres' 'The Arrival of the Train to the Station.' Finally, each child designs his own film with drawings. And then, for the first time in most of their lives, the children got to the movies in downtown Santiago.
a short film from Ignacio Agüero
Through the lucid gaze of young foreigner Gustave Verniory, a sensitive cinematographic space emerges, adrift between ‘human landscape’ and ‘geographical landscape’, revealing the conflicts that still underlie Araucania, the territory robbed from the Mapuche people by the introduction of capitalism.
Agüero is able to look at the scene in all it's complexity around architectonical brutality that Santiago de Chile underwent around the year 2000.
Two friends meet again after many years, in Santiago. One of them, successful, refuses to help the other. But after changing his mind, he realizes that the man always wants more.
It's Thursday, the day to go to the movies in Chile. Families see in the newspapers and advertisements the films that will be shown. Everything is prepared. A man attends a function and sitting in the audience, he gets excited when he sees his favorite images and actors on the big screen. The movie ends and the screen turns off. It is time to return to reality.
Just like in 1985, today Ignacio Agüero is back interrupting filmmakers during shooting, but not to ask what he did thirty years ago, but to find out what is purely cinematographic in what they film. These conversations are related to images in the director's personal archive, as if what is truly cinematographic was found among bits that were never made for the screen.