Alicia Vega

Yerma is desperate to have children, so when a psychic advises her to look outside her marriage to conceive, what can she say but yes?

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.

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.

The documentary frames the reactions of Rapa Nui's people following the screening of -at that time- a presumed lost film involving their territory.

In 1958, filmmaker Sergio Bravo bought a sack of old film reels on the street—material destined to be turned into hair combs. The sack contained seven 35mm nitrate reels of the film "El húsar de la muerte" (1925), directed by Pedro Sienna. Leading researchers and guardians of the country's film heritage recount, from various perspectives, the story of a discovery that changed the course of Chilean cinema.