Private Project


Ngen is a documentary that, through a contemplative and dreamlike journey, shows us the world of Rosa, a Mapuche machi from the town of Fin Fin Boroa, Araucanía Region. Through her story and the observation of her environment, she brings us closer to the deep relationship that exists between her, medicine and non-human beings called Ngen, owners of nature.
The short film addresses the life-destruction dichotomy, a constant in the capital-life conflict, showing us another side of the consequences of the impact of the forestry industry
in the territory of the wallmapu and that affects the Mapuche communities not only in the ecological dimension but also cultural and ontological.

  • Jaime Bernardo Diaz Diaz
    “Teteyotes, dioses de piedra” (2017), Mon Ami (2020), Ngen (2022)
  • Jaime Bernardo Diaz Diaz
  • Jaime Bernardo Diaz Diaz
  • Rosa Barbosa Caniulan
    Key Cast
  • Hilda Neira Alonso
    Key Cast
  • Francisco Piütrin Barboza
    Key Cast
  • Kotik Villela
  • Project Title (Original Language):
  • Project Type:
  • Genres:
    Etnographica, First Nation, Traditions and Faith
  • Runtime:
    23 minutes 20 seconds
  • Completion Date:
    January 8, 2022
  • Production Budget:
    5,000 USD
  • Country of Origin:
  • Country of Filming:
  • Language:
    Other, Spanish
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
    Yes - ICEI Universidad de Chile
Distribution Information
  • Cintamani Films
    Sales Agent
    Country: Worldwide
    Rights: All Rights
Director Biography - Jaime Bernardo Diaz Diaz

Jaime Bernardo Diaz Diaz (Santiago, 1981)
Director, producer and editor of documentaries. Degree in ethnology from the National School of Anthropology and History, Master in Documentary Film from the University of Chile. He is the director of the short film "Mon Ami", winner of the university category of the Microfilm Contest "Immigrants in Chile" organized by the Chilean Academy of Fine Arts within the framework of the interdisciplinary project "Migrations and Fine Arts".
Co-director of the visual ethnography "Teteyotes, stone gods" selected in different samples of ethnographic and indigenous cinema. He has recently collaborated in the documentary “Pomme de Discorde (Alerte Pesticide)” by Swiss director Daniel Kunzi.

Add Director Biography
Director Statement

The idea of ​​making the short film Ngen arises from a concern linked to my years of work as an ethnologist, an exploration still in development, about the notions of life or conceptions of the living present in Amerindian thought. Which points out that in certain non-Western indigenous traditions this phenomenon is extended to a set of existences that Western or naturalist thought considers inert bodies or lifeless objects. That is to say, in these realities what is alive is a broader concept than the one that we are taught in modern biology courses taught in basic schools.
and Western media, which is limited to those beings that are born, grow, reproduce and die as a simplified definition.
For many American indigenous peoples, the phenomenon of life is extensive to minerals, meteorological and astronomical phenomena, religious objects, beings whose corporality is invisible to our eyes, telluric forces and certain artifacts endowed with volition and agency, which are part of the complex network of social relations involving human and non-human beings.
In many of these realities, the world is conceived as a place populated by a multiplicity of beings with whom humans interact –positively or negatively–, share their future, establish relationships of alterity, reciprocity, kinship, alliance and revenge, to mention a few. . Each of these forms of existence meet
classified by indigenous thought and are objectified according to the degree of power, "agentivity" and "animacy" they possess, which accounts for a complex theory of the living or alive, which is expressed both in the discursive field, and in the daily practices
and rituals.
Knowing this phenomenon and having studied it in other contexts, I decided to look for a case in which this type of relationship was expressed in Chile and address it through film discourse. That is how, after an incessant exploration, I decided to work with the Mapuche people.
In this way, through detailed photographic work and careful sound design, supported by immersive ethnographic research in the line of direct cinema and visual anthropology, Ngen began to be delineated. A work that tries to account for the oral narratives of a Lafkenche machi and the relationship she establishes with nature and the non-human presences that inhabit it. A world to which we rarely have access as non-Mapuche, due to the "closed, secret or initiatory nature" that this religious system has for those who are not part of this culture.