Andrea Novoa

Debt and unemployment are forces of oppression in Maggie's world in this gritty story of survival. When her ambitions of becoming a nurse are shattered, Maggie turns to The Program; a short-term work commitment that promises financial freedom. But in The Program, the lines between freedom and slavery quickly blur as Maggie discovers the dark truth about life inside the work camps. Newcomer, Zara Jestadt delivers a gripping performance in this emotionally-charged cautionary tale of systemic decline in social equality and human rights.

The encounter of three movies, three territories. A personal story that portrays, through experiments revealed by images and extracts from a diary, lived meetings and inhabited places filled by forces of nature, colors, incidents and struggles.

Women, landscapes and manifestations of color meet experimentally with the possibilities of the artisanal copying technique on 16mm.

Lauren and her friends gather for a carefree night of drinking and playing with a spirit board, but when the game takes a dark turn and buried secrets surface - friendships unravel and the line between truth and belief begins to blur.

Night scenes of a distant and silent Havana. Anonymous voices tell us about places they would like to visit and come back, places they would like to know and never forget. They tell us about the transition moment in which they coexist, a state sketched in the traveler as a building facade cut by the light of the street lamps at night. Impressions of Andrea Novoa’s state of trance, a flaneur, who experiences the mental space that appears when crossing corners and streets of a foreign city, suspended in the time.

"Ningún Lugar Para Morir begins from an unexpected change of place. Everyday images in a territory with memories of war in southern Chile coexist with those of a childbirth. Light and darkness meet in colors, blacks and whites. The film portrays a forest, a death, and glimmers of light. Dedicated to Lena." - Lightcone

After having shared a common experience in Cuba, twelve filmmakers say goodbye to return to their countries and make a pact: to make a collective film that answers the questions: what does it mean to plagiarize images and how to do it in the distance? The mechanism is unusual: a director makes a short and sends it to the next director, who in turn makes his own short for the purpose of plagiarizing the one he received. And so the chain of plagiarism continues until it reaches the last one. Each one interprets in their own way what it means to plagiarize the received film. The first link in the chain is James Benning, one of the world's most patient filmmakers. His extensive plans are replicated in the following fragments. Disobedience moves the exercise away from literality and an exploration of the texture of the images begins. In its repetitive mechanism, we can see that cinema is, in addition to record of reality, an art of images and sound. (Santiago González Cragnolino)