This film, based in a poem by Wislawa Szymborska and co-directed by a Polish filmmaker and a Chilean one (one of the many films sponsored by DOX:LAB), shows an admirable virtue —it works with off-screen elements at the two levels which define the plot. How is it possible to make a film where that which matters most is never seen? This elegant and shrewd film, La isla, is an answer to that. As in Sotomayor’s film De jueves a domingo, here we also see a family trip. All the members of a well-to-do family get together in Chiloé, at a field where landowners and peasants live together in relative harmony. Class differences are often seen —and it is healthy that this is so— in Chilean cinema, and its portrait here is almost an utopist one. But there is something that only those outside the film know; there was an accident and once we know who the victim was it becomes impossible not to worry about how this news will be perceived. All of those present in this idyllic lunch will no longer be the same. So, the expectation is obviously clear: when are they going to find out? Delaying this answer throughout the film shows a cleaver use of timing in a tale filled with mystery and signs of instability. This film plays with the mystery of those who died, with a strange ecosystem, and with a remote past which becomes present as a form of abduction and as a bit of amnesia.


Production Company: Cinestación, New Europe Film Sales, CPH:DOX | Cast: רוזה גרסיה-הוידוברו, פרנסיסקה קסטיו, גבריאלה אגילרה, נילס אטלה, אליסאו אטלה, כרמן קוב, אידה דלגדו

Rosa Garcia - Huidovro, Francisca Castillo, Gabriela Aguilera, Nils Atle, Eliseo Atala, Carmen Cobb, Ida Delgado