Naldy Hernández

A poor postman in Isla Negra, Chile, befriends Pablo Neruda and asks his help in writing poems to the woman of his dreams.

A doctor and expert in ethics, Sergio Graf has to fight the Chilean health system as a patient when he gets Guillain-Barré syndrome. It is a journey toward physical deterioration, a loss of safety, and returning to something that he has until now taken for granted: his family.

A young factory worker who has lost his way and forgotten his teenage dreams, will soon realize that although he hasn’t made the right choices, it’s still not to late to make amends; accompanied by a new friendship that will encourage him to move forward.

Two women who have spent their whole lives together must deal with the illness affecting one of them. The sick woman decides not to have treatment and they move into a cabin in the woods to wait for the day that death will come into their lives. The situation sees the resurfacing of the love that time had buried under the routine. Gradually their relationship will strengthen as death bides its time outside the cabin.

In a small house, in the middle of impossing Patagonia, lives Casimira (80), and old women with a friendly look who spends her days in the middle of different tasks in the field. Her daily life is hard and she must ask for help for some tasks, but in spite of everything she will keep her independence with conviction and she will start a final challenge.

Gioconda Martínez, a well-remembered comic television actress, decided to return to her hometown to stage a play about the conquest of Chile, which will allow her to regain the artistic recognition she thought she had lost but never had.

Sussi comes to the big city to find love and success.

Niki and his friends are members of the marginalised underclass living on the outskirts of Santiago. During Chile's transition from dictatorship to democracy (1988-1990), they forge a path from drug- and drink-fuelled nihilism and petty crime into the world of market-driven illegality and Niki begins a seemingly predestined relationship with the middle-class "loca", Manuela. Memorable episodes and characters, quotable dialogue and a mix of earthy national portrait and surrealistic flourish make this one of the key Chilean films of the Nineties.

In his final moments, elderly Fernando falls into a trance where his mind, like a wandering ghost, finds refuge in an old palace from the last century. In the middle of an imposing hall, photographs of his youth are projected: beach vacations, birthdays, and portraits of his beloved Ani, who left long before him. Two female figures appear on the projection, invoking a ritual where the living and the dead meet again, and where our gaze is both complicit and participatory in this final family reunion.