2020, 7:05 min, 16mm-to-digital

Eddie Martinez is a dancer for Tanztheater Wuppertal Pina Bausch. In 2009 Pina returned to Chile for her last residency before her passing that June. Eddie and I have continued our friendship ever since bonded by our love for Pina. In 2016, we collaborated on a short dance film. I told Eddie how I wanted to dance with the camera while he moved in the waters of Castle Island, MA. The film was shown as a 16mm projected loop for an expanded cinema event at the Boston Waterworks Museum. After that event I digitized the work print projected that night and created Temple Island, an ode to the body as our motor and our temple.


2020, 7:22 min, 16mm-to-digital

"Golpes" is a film that revisits the attack by the Chilean army to the Government Palace (La Moneda) in Santiago, Chile during the coup d'etat on September 11, 1973. Through images that document the palace and its surroundings, bullet marks on nearby walls, and the Atacama desert as a container of a history of disappearances and murders committed by the state, the film draws connections between the army from 1973 and the police force that guards the existing ideals inside La Moneda. The sound and the images are placed in hi-contrast as the boiling discontent outside this building becomes louder.


2019, 3:47 min, 16mm-to-digital

In EXO the body of the performer is a vulnerable surface. The metal dust is the eroding factor altering it. As the body keeps resisting and grasping, transformation becomes inevitable.


2018, 5:50 min, 16mm-to-digital (super16)

'Almargen' is a meditation on three major transitions in my life; moving to a new country in search of better opportunities, changing career paths from acting to filmmaking, and experiencing a breakup in a long-term relationship. I filmed this piece in Santiago, Chile in 2016, while also filming a short narrative piece ‘Beneath the Light’, in an effort to gain perspective of the current immigration wave in Santiago. During the editing process I decided to make my personal experience the voice of the film in the form of written interventions or subtitles that accompany images taken by me as a distant observant of a city I no longer inhabit.


2017, 34:03 min, 16mm-to-digital (super16)

Beneath the Light embodies the fractures of a mind that has inherited the demons of a dysfunctional society. Inspired by Ulrike Ottinger's episodic narrative, the film is an abstract spiritual procession in the life of a young actress trying to make sense of her immediate environment.

Bajo la Luz encarna las fracturas de una mente que ha heredado los demonios de una sociedad disfuncional. Inspirada en la narrativa episódica de Ulrike Ottinger, el film es una abstracción de una procesión espiritual en la vida de una joven actriz que intenta hacer sentido de su entorno. 


2018, 5:47 min, 16mm

A film that gently explores the tensions between ethnicity and the politics of the immigrant experience. Using 16mm and super8 film cameras, Anto moves from their childhood neighborhood in Chile to Hispanic neighborhoods in the US. In brief encounters with local people, this film is an attempt to relate to the new country of residence.


2018, 43:38 min, digital

Santiago Barbershop is a short documentary that explores a lively community of hardworking Dominican barbers and their diverse group clients. The film is an observation of men’s hairstyling in a Hispanic neighborhood in Somerville, MA. From the barber seat we observe costumers from a wide age range choosing style as a way to shape their identities and gender presentation. The musical choices of the barbers and the unique stories told by immigrants living and working in Boston during the Obama administration make the piece a cultural statement and a document of that particular period of time in the country.

DMO music video.jpg


2018, 19:47 min, digital

This documentary project follows the journey of Dominican singer Sikosis shaping his music project DMO in an effort to become the next known hip hop artist in Boston


September, 2017

Site-specific installation piece at the Boston's Metropolitan
Waterworks Museum as part of Temporal Currents in collaboration filmmaker Christina Hunt and visual and media artist Sarah Bliss.


2016, 20:34 min, digital

An experimental narrative film that captures the performance of a new version of the old fairy tale, replacing its original male gaze with my personal experience growing up as a lesbian in a conservative country (Chile), my admiration for the female gender resilience and my dissatisfaction with gender inequality present in my life since childhood. 

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