Guillermo Calderón (Chile)

“In this play I want to examine the relationship between the motives of the German colonists and those of the Chilean government, who have given German settlers a great deal of land and support since the 19^th century. The sadly notorious ‹Colonia Dignidad› was just one among many. On the one hand, there was a plan to develop our country, its army and its education system, but another of its effects was to take away the land of the Indigenous population that still lives in these areas today and continues to have less influence than the descendants of the German immigrants who belong to the social elite.” – Guillermo Calderón

A group of women meet for a choir rehearsal. Not only they want to sing together, they also aim to establish a new form of community, a new “Bavaria” that fits their ideas of a decent life better than the Bavarian reality. Only where? Somewhere in the countryside? Or better at the other end of the world. In South America maybe?
While they rehearse the Spanish songs that Franka, a German-born Paraguayan, is supposed to teach them, it gradually becomes clear that not everything is as harmonious as it seems, and that entanglements and untruths permeate not only the group, but also the history of German settlement in Latin America.

“In this play I want to examine the relationship between the motives of the German colonists and those of the Chilean government, who have given German settlers a great deal of land and support since the 19^th century. The sadly notorious ‹Colonia Dignidad› was just one among many. On the one hand, there was a plan to develop our country, its army and its education system, but another of its effects was to take away the land of the Indigenous population that still lives in these areas today and continues to have less influence than the descendants of the German immigrants who belong to the social elite.” – Guillermo Calderón

A group of women meet for a choir rehearsal. Not only they want to sing together, they also aim to establish a new form of community, a new “Bavaria” that fits their ideas of a decent life better than the Bavarian reality. Only where? Somewhere in the countryside? Or better at the other end of the world. In South America maybe?
While they rehearse the Spanish songs that Franka, a German-born Paraguayan, is supposed to teach them, it gradually becomes clear that not everything is as harmonious as it seems, and that entanglements and untruths permeate not only the group, but also the history of German settlement in Latin America.

What responsibility does art have? Can it really change something about social conditions? The established artist collective Dragón tries in vain to create THE artwork of the 21st century. It should be truthful, historical and political, it should criticize racism, classism and capitalism.
Collective’s absurd performance ideas demonstrate the bourgeois pomposity and the emptiness of the contemporary art scene.

“This grotesque, darkly funny new play… A startling, stylish and suspenseful piece… The writing has a dash of Pinter, Chris Morris’ Four Lions and even Tarantino’s Reservoir Dogs with its menace, its blend of the comic, grisly and grotesque, and its confused, conflicting deceptions.” – The Stage

Alejandra and Marcela are planting bombs in the middle of the night. They don’t want violence. They just want to be heard. Prison’s not much of a threat when most of your friends are inside. But José Miguel is from another generation, and he’s committed to change by any means possible.

“This grotesque, darkly funny new play… A startling, stylish and suspenseful piece… The writing has a dash of Pinter, Chris Morris’ Four Lions and even Tarantino’s Reservoir Dogs with its menace, its blend of the comic, grisly and grotesque, and its confused, conflicting deceptions.” – The Stage

Alejandra and Marcela are planting bombs in the middle of the night. They don’t want violence. They just want to be heard. Prison’s not much of a threat when most of your friends are inside. But José Miguel is from another generation, and he’s committed to change by any means possible.

Two couples meet for dinner to take their minds off the war raging around them. An unexpected profession of love, an untimely proposal, and one kiss later, one of the foursome lies dead on the floor. KISS breaks open cultural barriers as a group of western actors interpreting a Syrian play slowly realize the limits of their own understanding, and the suffocating effect of an oppressive, omnipresent regime.

Chile, 111 min., Fabula production
Directed by: Pablo Larraín
Written by: Guillermo Calderón, Pablo Larrain
Available on Netflix

Trailer EL CONDO

A dark satire about Augusto Pinochet who is a vampire and is ready to die, but the vultures around him won’t let him go without one last bite.

Awards:
Golden Lion for Best Screeplay, 80th Venice Film Festival

Chile/Mexico, 81 min., Fabula production
Written & directed by: Guillermo Calderón

Trailer MAKING IT UP

MAKING IT UP is a story of Ana and Rita, two make-up artists who are completely broke. When the unpredictable Alex offers them a job, they just have to say yes – to the gig and to a big ol’ mess.

Chile, 102 min., Fabula production
Directed by: Pablo Larraín
Written by: Guillermo Calderón

Trailer EMA

Ema, a young dancer, divorces Gaston, the director of the company for which she performs. She is unable to overcome her sense of guilt towards Polo, the child they had adopted to make up for Gaston’s sterility and whom they have later again brought back to the orphanage. A tragedy follows caused by the child’s pyromania.

Chile, ARG, FR, ES, US, 107 min.
Directed by: Pablo Larraín
Written by: Guillermo Calderón
AZ Films, Casting del Sur, Fabula, Funny Balloons, Participant Media, Reborn Production, Stembro Cin, Televisión Federal

Awards:
Lima International Festival – Best Screenplay
Premio Fénix – Best Film

Directed by: Pablo Larraín
Written by: Guillermo Calderón (co-author)

Trailer EL CLUB

Awards:
International Film Festival Berlin: Silber Bear
Chicago International Film Festival – Best Screenplay
Mar del Plata Film Festival – Best Screenplay
Premio Fénix – Best Screenplay

Chile, 110 min.
Directed by: Andrés Wood
Written by: Guillermo Calderón, Eliseo Altunaga

Trailer VIOLETA

Awards:
Nominated for Academy Awards: Best international feature
Sundance Festival: World Cinema Jury Prize