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The most recent joint effort between Chilean executives Ivan Osnovikoff and Bettina Perut won the sprinter up prize while debuting at the Dutch narrative monster.
It's an instance of four wheels great, four legs surprisingly better in Los Reyes, Chilean pair Ivan Osnovikoff and Bettina Perut's engaging investigation of stray pooches and skateboarders sharing a downtown Santiago stop. Manufactured four-square around the extensive screen nearness of indistingThe latest collaboration between Chilean directors Ivan Osnovikoff and Bettina Perut won the runner-up prize when premiering at the Dutch documentary giant.
It's a case of four wheels good, four legs even better in Los Reyes, Chilean duo Ivan Osnovikoff and Bettina Perut's appealing study of stray dogs and skateboarders sharing a downtown Santiago park. Built four-square around the considerable screen presence of inseparable best-pal canine co-leads Chola and Football, the German co-production is low on incidents but high on atmosphere and unassuming charm.



Having its world premiere in the main competition at Amsterdam's IDFA, the pair's eighth directorial collaboration took the runner-up special jury award and ranked high among the most viewed titles in the industry videotheque, the latter a reliable harbinger of a busy festival career. Art house play in receptive territories is also potentially in the cards, though bookers and patrons should be made aware that the measured style of Los Reyes — no music, no voiceover, no explanatory title-cards — veers toward the austere.

It's to Osnovikoff and Perut's credit, however, that the directors (whose previous outing, salt-flats chronicle Surire [2015] also contained a significant canine contingent) don't attempt to anthropomorphize their protagonists nor play the tempting "cuteness" card. A range of camera positions, from wide landscape shots to ultra-intimate close-ups, instead allows us to appreciate the two hounds in their adopted setting of the Parque de los Reyes ("Park of the Kings"), a long strip of land along the Mapocho river near the center of the capital.

Interactions with the skaters are surprisingly few and far between: Chola and Football (names only revealed in the end credits) get most barkingly animated when non-strays and their owners have the temerity to invade their scruffy turf. Otherwise they seem to enjoy a placid, sedentary kind of existence in all weather. At the half-hour point, a set of kennels is installed, shelter that comes in handy during the rainy season when its occupants stare mournfully out at the downpour.

The bond of comradeship between Chola and Football is palpable: Football tends to look on tolerantly, usually with some kind of bottle or toy between his large jaws, while the much friskier and sleeker Chola amuses herself by playing with a tennis ball. Her favorite and most delightful pastime involves balancing the ball on the edge of the skate-park wall, releasing it down the slope and chasing after it, a kind of "fetch solitaire."

The animals' evident affection for each other doesn't exclude other encounters: Despite his advanced years, Football is shown enjoying a carnal fling with a passing dog at one point. His relationship with Chola is seemingly more platonic. In any case, their closeness renders the final 10 minutes a moving climax (there's one truly heart-rending sequence of lonely howling.)

The audience has been quietly primed for this sad denouement: Pablo Valdes' camera near-microscopically examines the tiniest signs of aging Football, visibly the older of the two, showing his blunted teeth, worn-down paws, and the pesky flies that buzz around and feast upon his tattered ears. For anyone who has owned or cared for dogs, such sections of Los Reyes may prove tough going.

The directors' intense engagement with the irresistible pooches contrasts radically with their treatment of the skaters: teenage boys who are frequently heard discussing drugs and girlfriends (at occasionally tedious length), and shown skating and hanging out from a distance, but whose faces remain off-camera. Los Reyes was originally pitched as "the story of three low-income teenage skateboarders that embody the challenge of becoming adults in a segregated and classist current day Chile," only for the shooting and editing to take different, more original and rewarding paths.

Production companies: Perut + Osnovikoff Ltda
Directors / Screenwriters / Editors: Ivan Osnovikoff, Bettina Perut
Producers: Maite Alberdi, Ivan Osnovikoff, Bettina Perut
Executive producer: Dirk Manthey
Cinematographer: Pablo Valdes
Venue: International Documentary Festival Amsterdam (Feature-length Competition)
Sales: CAT&Docs, Paris
In Spanish
No Rating, 77 minutesuishable best-buddy canine co-drives Chola and Football, the German co-generation is low on occurrences yet high on climate and unassuming appeal.

Having its reality debut in the principle rivalry at Amsterdam's IDFA, the combine's eighth directorial coordinated effort took the sprinter up extraordinary jury grant and positioned high among the most seen titles in the business videotheque, the last a dependable harbinger of a bustling celebration vocation. Workmanship house play in responsive regions is likewise conceivably probable, however bookers and supporters ought to be made mindful that the deliberate style of Los Reyes — no music, no voiceover, no logical title-cards — veers toward the somber.

It's to Osnovikoff and Perut's credit, in any case, that the chiefs (whose past trip, salt-pads narrative Surire [2015] likewise contained a huge canine unexpected) don't endeavor to humanize their heroes nor play the enticing "charm" card. A scope of camera positions, from wide scene shots to ultra-hint close-ups, rather enables us to value the two dogs in their embraced setting of the Parque de los Reyes ("Park of the Kings"), a long piece of land along the Mapocho stream close to the focal point of the capital.

Associations with the skaters are shockingly rare: Chola and Football (names just uncovered at last credits) get most barkingly enlivened when non-strays and their proprietors have the audacity to attack their scruffy turf. Else they appear to appreciate a tranquil, inactive sort of presence in all climate. At the half-hour point, a lot of pet hotels is introduced, protect that proves to be useful amid the blustery season when its tenants gaze sadly out at the storm.

The obligation of comradeship among Chola and Football is tangible: Football will in general look on tolerantly, more often than not with some sort of container or toy between his substantial jaws, while the a lot friskier and sleeker Chola delights herself by playing with a tennis ball. Her most loved and most superb hobby includes adjusting the ball on the edge of the skate-stop divider, discharging it down the incline and pursuing it, a sort of "bring solitaire."

The creatures' obvious love for one another doesn't prohibit different experiences: Despite his propelled years, Football is demonstrated appreciating a licentious hurl with a passing canine at a certain point. His association with Chola is apparently increasingly non-romantic. Regardless, their closeness renders the last 10 minutes a moving peak (there's one genuinely grievous succession of desolate crying.)

The group of onlookers has been discreetly prepared for this tragic end result: Pablo Valdes' camera close minutely looks at the most diminutive indications of maturing Football, noticeably the more established of the two, going on the defensive, worn-out paws, and the bothersome flies that buzz around and devour upon his worn out ears. For any individual who has possessed or thought about puppies, such areas of Los Reyes may demonstrate extreme going.

The chiefs' serious commitment with the overpowering pooches stands out drastically from their treatment of the skaters: young men who are much of the time heard examining medications and lady friends (at every so often dreary length), and indicated skating and hanging out from a separation, however whose faces stay off-camera. Los Reyes was initially pitched as "the account of three low-pay young skateboarders that typify the test of getting to be grown-ups in an isolated and classist current day Chile," just for the shooting and altering to take extraordinary, progressively unique and remunerating ways.

Creation organizations: Perut + Osnovikoff Ltda

Executives/Screenwriters/Editors: Ivan Osnovikoff, Bettina Perut

Makers: Maite Alberdi, Ivan Osnovikoff, Bettina Perut

Official maker: Dirk Manthey

Cinematographer: Pablo Valdes

Setting: International Documentary Festival Amsterdam (Feature-length Competition)

Deals: CAT&Docs, Paris

In Spanish

No Rating, 77 minutes