LOS REYES
el Documental del mes June 2019

LOS REYES

Bettina Perut, Iván Osnovikoff

2018 78 min.

Technical specs

    • Direction and Editing: Bettina Perut, Iván Osnovikoff
    • Executive Production: Maite Alberdi, Dirk Manthey
    • Cinematography: Pablo Valdés
    • Aditional Cinematography: Adolfo Mesías
    • Sound Recording: Iván Osnovikoff
    • Production: Maite Alberdi, Bettina Perut, Iván Osnovikoff
    • Image Post-Production: Kiné-Imágenes
    • Color Grading: Daniel Dávila
    • Visual Effects: Jaime Gándara
    • Sound Post-Production: Sonamos
    • Mix: Roberto Espinoza
    • Sound Design: Jannis Grossmann
    • Production Companies: Perut + Osnovikoff, Dirk Manthey
    • Distribución: DocsBarcelona Distribution
    • Age rating: Not recommended for children under 12 years

Audience award 2019

3.8/5 (1)
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Sinopsi

Los Reyes (“The Kings”) is the oldest skatepark in the Chilean capital of Santiago. This story is about the real kings here: Football and Chola, two stray dogs that have made their home in this open space full of hurtling skateboards and rowdy teenagers. The energetic Chola loves to play with the balls she finds lying around. She positions them at the edge of the bowls where the skaters show off their tricks and tries to catch them just before they fall down. The older dog, Football, looks on impatiently and barks at Chola until she finally drops the balls. The teenagers around them come from very different, sometimes troubled backgrounds. They each have their own story, which they recount to us in voiceover. In this almost fairy-tale-like film, the phenomenal, dreamlike camerawork centers almost entirely on the subtle interaction between the two dogs, as they play with a ball, a stick, a stone and each other.

About direction (Bettina Perut, Iván Osnovikoff)

Since its inception, the documentary work by Bettina Perut and Iván Osnovikoff has stood out for risk and creativity in its themes, treatments and points of view. With eight feature films to their credit, their poetic journey is full of turning points and mutations that have accompanied the technological and cultural transformations of their time, challenging the most stable and conservative premises of what is meant by documentary filmmaking. Their work has gone from a very physical and gestural first record linked to the lightening of the cameras and the voyeur drive, present in films such as Martin Vargas from Chile (2000) or A Man Aside (2002), which in turn emphasized the performative dimension of its protagonists towards a visual stylization.  

Awards & Festivals

  • Special Jury Award Best Feature-Length Documentary, IDFA – Netherlands, 2018
  • Nominated in VRPO IDFA Audience Award, IDFA – Netherlands, 2018
  • Nominated  in Knight Documentary Achievement Award, Miami Film Festival –United States, 2019