Abandonados

Now David Contreras tells us about his movie "Abandonados":

The motivation behind Abandoned came from a deep desire to tell a story that carries both a message and a legacy—something that rises from the heart. This film weaves multiple narratives into a layered structure that gradually leads the audience to the simplest and most essential truth of life. Its protagonist, Professor Fernando Cortés (portrayed by Chilean actor César Rojas), is stripped of all material possessions, allowing the film’s message to become universal: love. A love that can only be lived in the present moment, because the future is unknown. Abandoned reminds us that now is the time to change, to pause and appreciate a flower, to watch the sunrise, to tell someone how much they mean to us. The central message is simple yet profound: “This is our time to breathe and to love.” I believe we all know this deep down. We just need to live it and become better human beings. Time is short—and the more we understand that, the more we can enjoy this shared journey across our planet.

Originally, Abandoned was going to be a single 90-minute film. But as the footage grew and the narrative evolved, I realized I wanted to tell a longer, more expansive story—one that followed the protagonist through many life events, like a saga. This led to the creation of a trilogy: Abandoned: The Gone Trilogy, which includes Part I: Water War, Part II: The Journey of Cortés, and Part III: Hope Mission, each running approximately 90 minutes.

I’ve always been drawn to stories that slowly draw the viewer in, stories where you gradually connect with the characters and begin to truly live their joys, tragedies, and adventures. That emotional immersion was something I deeply wanted to achieve with this film.

The actual filming took about two months, though the production was spread over two years, from 2008 to 2009, across various regions of Chile. We began in the mountainous landscapes of Antuco and continued in cities like Los Ángeles, Concepción, Penco, Tomé, Osorno, and Santiago. The process was filled with creativity, improvisation, and collaboration. It was also physically demanding. There were days when we were exhausted, covered in dust, with very little food. At times, it felt like we had become the characters we were trying to portray—displaced, worn, and vulnerable. But through all of that, we remained united by passion, love, and joy. It was beautiful to live the filmmaking process in such an intense and authentic way.

This was a deeply human and transformative experience for everyone involved. As my friend and colleague Rolando Guzmán once said, “Humanity is humanity... all the time, and this film reflects that.” And I truly believe it, with humility.

The entire trilogy was made on a budget of just $3,000. It may sound impossible, but it was a collective effort and a testament to creativity. More than 500 people came together—both on screen and behind the scenes—to make it happen, and that fills me with pride and gratitude.

We shot the film using DVCAM and DV formats, blending them based on the resources we had available at the time. Visually, I wanted a fictional story with elements of modern cinema and documentary realism. We relied heavily on handheld camera work and natural light to convey rawness and authenticity in each scene.

One of the most memorable production moments involved the character Valentina, the granddaughter of Professor Cortés, who dies after the great catastrophe. In one scene, Cortés finds a doll that reminds him of her. As we were filming in the mountains and running out of funds, we suddenly realized we still needed to purchase two identical dolls —one for scenes before the catastrophe and another, to be partially burned and damaged, for the aftermath.

Producer Rogger Zañartu and I searched across the city of Los Ángeles, visiting countless toy stores with no luck. Finally, we found one last shop, crossed our fingers, and stepped inside. And there she was —Valentina. We looked at each other and knew immediately: "This is her." We told the shopkeeper we needed two of the same doll for a film. He smiled, spoke with his boss, and returned with both dolls in hand —gifting them to us. It was a magical moment. We had found our Valentina, and her stunt double, ready for the Chilean Andes.

Today, we are finalizing post-production on SINO (Destiny), a suspense drama filmed in winter 2010 in the Andes. It tells the story of a young couple facing life-altering events in an isolated, icy landscape. At the same time, we are preparing our next production, ZOHE, a science fiction film set in the year 2084 in a post-catastrophe world. It promises to be a thrilling adventure filled with action and special effects.

As for the future of film distribution, I remain optimistic. I believe films will always find their audience —whether in theaters, on DVD, or online. Thanks to globalization and new digital platforms, independent creators have more ways than ever to share their work. The landscape is changing, but opportunities are growing. There is room for every story —especially those made with heart.

Let me know if you'd like this version tailored for a festival dossier, a press kit, or voiceover narration.