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.
