Carlos Flores Delpino

Mamá tells the story of a father and his sons, who go look for the mother who left them.

Iván returns to his apartment and finds his wife dead. He wraps her in a blanket, puts her in the suitcase of his car and begins a journey that, far from appeasing his pain, will introduce him to the horror of a blind and secret nightmare.

Marianne Ayala is the CEO of Groovefield International, an ontological coaching company. She's pregnant, and looking for someone to take her place. The chosen one is Marian Aguayo, a Peruvian cook whom will have to train in 5 days, so she can carry on with her legacy

In a bar in Santiago, two old men talk over their past. This is a strange discussion. In fact, they talk of themselves as if they were dead. We don't know what is true or false, what is dream or reality.

A man spends the night at an hotel in an unnamed city in southern Chile. It's late and he finds himself unable to sleep. He's bored. He feels confused about what to do next. He wishes to eat and to urinate. He's sexually excited. The image of a naked woman appears on the TV screen.

Through the juxtaposition of images, the documentary proposes to show the juxtaposition present in Chilean society and how it is capable of lamenting the coup d'état and a week later celebrating the Glories of the Army and the “18th”.

The images from the landing of the first expedition of the spaceship Columbia are juxtaposed to a reflection on the function of the visual medium, and artistic creation as a whole.

This was a man. He lived with his mother. He cared a manor house in the countryside of Chile. One day the man found a bone in the garden. The bone was bored. That was a bone flute. The man with the flute music play. And music song became. The voice of the song begging to seek the other bones of his scattered body. The man and his mother were in those ways of God and hell, looking for the bones that make up the skeleton of that Christian. And give him a Christian burial. And they saw what they saw, they lived what they lived. Many stories lived. And although they did not tell anyone, others told them.

Sequences that illustrate moments in a woman's life, in parallel to the political events happening in South America during the 60's.

Iván returns to his apartment and finds his wife dead. He wraps her in a blanket, puts her in the suitcase of his car and begins a journey that, far from appeasing his pain, will introduce him to the horror of a blind and secret nightmare.

Iván returns to his apartment and finds his wife dead. He wraps her in a blanket, puts her in the suitcase of his car and begins a journey that, far from appeasing his pain, will introduce him to the horror of a blind and secret nightmare.

Iván returns to his apartment and finds his wife dead. He wraps her in a blanket, puts her in the suitcase of his car and begins a journey that, far from appeasing his pain, will introduce him to the horror of a blind and secret nightmare.

From different conversations with relatives, writers and people close to José Donoso, the imaginary is constructed about the life, work and influences of the writer, to later follow his journey through the city by car while he remembers places, situations of his youth and evocations of his childhood.

From different conversations with relatives, writers and people close to José Donoso, the imaginary is constructed about the life, work and influences of the writer, to later follow his journey through the city by car while he remembers places, situations of his youth and evocations of his childhood.

"Nütuayin Mapu", which in Mapuche language means "Let's recover our land", is a documentary about the Mapuche conflict and the struggle of the Revolutionary Peasant Movement and the inhabitants of Camp Lautaro, who in the face of the precarious Chilean legislation seek to recover the ancestral land that belongs to them through the displacement of fences and land seizure.

At the beginning of the summer of 1986, a group of actors and actresses directed by Andrés Pérez, put on the street the play “All these years” presented in front of the Cathedral of Santiago, the Bellavista neighborhood, the La Bandera district, the Parque O'Higgins, Plaza del Mulato and many other places in Santiago. Armed with megaphones, costumes, musical instruments, giant dolls, stilts and banners, they set up shop in different parts of the city where they raised scaffolding on which they climbed to summon the public to witness their show of singing, music, dancing and pantomime in the who told stories that quietly delved into the events of the last years of the military dictatorship at the end of the 1980s. 25 years passed, Andrés Pérez had died and the street actors became references in theater and television, when Flores returned to the eighties images to create this tribute documentary.

Overview of the forestry workers of Valdivia and Panguipulli. Their testimonies reveal the abuse to which they are subjected.

Documentary about a land seizure of a camp called Fidel Castro. The protagonists are interviewed and the facts are recorded.

A man spends the night at an hotel in an unnamed city in southern Chile. It's late and he finds himself unable to sleep. He's bored. He feels confused about what to do next. He wishes to eat and to urinate. He's sexually excited. The image of a naked woman appears on the TV screen.

A man spends the night at an hotel in an unnamed city in southern Chile. It's late and he finds himself unable to sleep. He's bored. He feels confused about what to do next. He wishes to eat and to urinate. He's sexually excited. The image of a naked woman appears on the TV screen.

A man spends the night at an hotel in an unnamed city in southern Chile. It's late and he finds himself unable to sleep. He's bored. He feels confused about what to do next. He wishes to eat and to urinate. He's sexually excited. The image of a naked woman appears on the TV screen.

The images from the landing of the first expedition of the spaceship Columbia are juxtaposed to a reflection on the function of the visual medium, and artistic creation as a whole.

The images from the landing of the first expedition of the spaceship Columbia are juxtaposed to a reflection on the function of the visual medium, and artistic creation as a whole.

The images from the landing of the first expedition of the spaceship Columbia are juxtaposed to a reflection on the function of the visual medium, and artistic creation as a whole.

Documentary about a Chilean Charles Bronson impersonator.

Documentary about a Chilean Charles Bronson impersonator.

Documentary about a Chilean Charles Bronson impersonator.

No synopsis available yet.

No synopsis available yet.

No synopsis available yet.

An encounter unites two people with the same name, different lives and a city in common, Talcahuano. Carlos Flores, director of the documentary, attests to a link with Charlie Flowers, writer and rapper, whose real name is also Carlos Flores.

An encounter unites two people with the same name, different lives and a city in common, Talcahuano. Carlos Flores, director of the documentary, attests to a link with Charlie Flowers, writer and rapper, whose real name is also Carlos Flores.

A collective portrait in which friends and acquaintances explore the complexities of Rodrigo Lira, a pivotal poet on the national scene of the 1980s. The short film exposes diverse literary and personal facets of Lira, while simultaneously fragmenting, reiterating, and juxtaposing the speeches of the group of interviewees, making it in itself a work of audiovisual experimentation. Originally filmed months after Lira's suicide, this film was recuperated and preserved by Universidad de Chile's Film Archive, who were able to release it in 2026.