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Covarrubias: And then in early 2020, the pandemic began. I finished animating the short during the pandemic. I think some of the most important shots in the film were completed during the pandemic. Covarrubias: We used three types of resin: polyurethane resin as the base, crystal resin outside, which is like a coating, and inside it has expansive polyurethane resin so that it has volume but without weight. That way the interchangeable heads, easier to manipulate, are lighter and if they fall to the floor they won’t break. People love JAV. There are many Japan xxx videos online. There is no doubt that JAV (Japanese Adult Video) is one of the most popular porn niche in the porn industry. And what was the reasoning behind limiting her expressions from a practical and narrative perspective?

Covarrubias: We had one base or neutral expression for her, because we wanted the character to really have a single expression. People say that in real life Ingrid didn’t show much emotion with her face. Her expression was the same while walking down the street or when she was torturing people. It seemed logical for us to maintain that notion with this single facial expression for the doll. What was the timeline of production like and how did the real-world events of the last few years affect it? Society tends to associate violence with masculinity, but in Bestia we learn of what Ingrid was capable of. There are also scenes where she looks at herself in the mirror as if questioning who she is. Tell me about the significance of this identity crisis. Covarrubias: Animation let us into what happens in her head; it’s a medium that benefits those mental images. All of the surrealist and dreamlike elements that the short film explores exist because of the animation. At the same time we wanted to show in a seemingly innocent way this doll as a kind of matryoshka with many layers, and for that the material was integral. The material also has a certain aesthetic and narrative qualities. For example, ceramic is cold, just as cold and as calculating as the character was for the acts she committed. It’s also rigid but fragile at the same time. If it falls it can easily break. That happens to Ingrid when they change her job. She becomes frustrated and suffers this attempted assassination that leaves a fracture in her mind, and that in turn reflects the fracture that dictatorship left in an entire country. The material itself becomes a narrator and is the spine of the short film.How would you describe the animation industry in Chile today in terms of resources and its potential for growth? Following the first-ever Oscar win for Chile with the animated short Bear Story, the success of Bestia reaffirms a hope for a rapidly growing industry in the South American nation. Speaking via Zoom from Santiago, Covarrubias and Diaz walked us through the thematic labyrinth that their uncompromising short represents. The interview is accompanied by behind-the-scenes photos from the production of the film. So when the series didn’t pan out, you gravitated towards Ingrid to make a short film, from all the figures you had considered? The 2019 “ Acuerdo por la Paz” ( peace agreement) was a timely solution for the president Sebastián Piñera and his cronies. In exchange for a new constitution, he would get himself off the hook and create a mechanism to quell the uprising. As a result, many of the cases have been closed without prosecution.

Accounts by her victims alleged that she had trained her German Shephard Volodia to rape female left-wing dissidents during the Pinochet regime. The film is inspired by Journalist Nancy Guzman’s book La Mujer de los Perros (The Dog Lady). Guzman interviewed the now-deceased torturer in 1996. Covarrubias: It took that long because as we were making it as the social uprising of 2019 started, which was really an important moment for Chilean society. We couldn’t ignore that, and so the timeline of production was delayed. Not only did we join the protests, but also it was difficult to concentrate on the work with everything that was going on. The same happened again in 2019 after Chileans rose against continuing inequality and injustice. While the dictatorship-era constitution was abolished, politicians used it once again not to pay for their crimes. Bestia exposes how the powerful in Chile then and now can avoid punishment for such human rights abuses. The Dog Lady The expression we selected was one that we felt could cause different reactions from the audience depending on the context, even if the face was the same. But we did have a few other faces to use when she is really frustrated, one that shows amazement, and a sad one for the period where she experiences sorrow, which is when one might empathize with her briefly, but that feeling rapidly vanishes. We created these additional expressions to enhance these feeling she had, which in the end weren’t all that real. That’s partly what we fictionalized. In reality she always had the same face, so when we show her being sad, that may have not happened in reality. Díaz: The relationship with the dog is very interesting because it shows her quotidian life and her loneliness. The dog’s presence tells us about Ingrid as a character. Also, the dreams and the sequences that let us into her inner life are of course our interpretations of who Ingrid was.Díaz: From the screenplay stage until the end it was about four years. The animation itself took about two-and-a-half years. And the post-production we did in record time because we had submitted the short to Annecy while still unfinished — it still had temp sound and you could still see the rigs behind the puppets. But when we got selected for Annecy, they told us, “You have to commit to deliver the finished film in two months.” That was madness. We had to finish the sound and the music in time. But we did it! With an unreformed military whose silence and crimes are protected by the current constitution, a new generation of torture victims are having to live in silence. A Democracy Bathed in Blood Covarrubias: We wanted to represent this woman as someone who isn’t sure about her place in society in relation to gender. This relates to the role that women had during the Holocaust, specifically the role that Nazi women had in juxtaposition to the Nazi men and to the Jewish women they murdered. Ingrid only tortured women, and she taught other women how to torture women. This creates a strange binary, because Ingrid in the end was almost like another man. Since she was a woman she was tasked with torturing women and instructing women, but what the women she tortured felt was that Ingrid was just like the men. We wanted to portray that inner conflict in the scenes where she tries to discover or recognize herself in her private life.

Díaz: In Chile we do have a sizeable audiovisual industry and for many years now there has been support from the government. There are public policies that pushed the industry forward, and within that industry there’s animation. We also have Animachi, which is a guild that brings together the country’s most important animation companies. In that sense we do have networks and connection with other countries. It’s obviously not like in the United States or in Europe, but we are growing. The fact that we are nominated is not an isolated incident. The animated short Bear Story won Chile’s first Oscar. Japan has one of the most productive porn industry in the world. You can find your most favorite Japan Porn Stars here and enjoy their performing. Jav Porn Movies we all love. They're made in Asian but for all human beings. Covarrubias: Matías Delgado was a key collaborator in animating the dog. He was the only other animator besides me. I knew that the dog had to contrast with the protagonist, especially at the beginning of the film. At some point Matías asked me if the dog could act tenderly and subtly, and I agreed. It had to be a docile dog, and not what you think of when you think of a tough police dog, even if it is a police dog. We were trying to confuse the viewer at the beginning in the sense that we introduce the story as if it were a run-of-the-mill tale about a woman and her dog. At first we know she teaches the dog things, but we are not sure what they are.As she looks at herself in the mirror we imagine that she is asking herself, “Am I really a woman or am I only a woman when I’m in my room because outside I’m just another military person without gender in the eyes of society?” Of course a lot of this is open to interpretation, but these are the things we questioned about her. I can’t speak about feminism because I’m a man, but thinking about gender, I’m conscious that she is a woman, but she was carrying out evil acts that were genderless. So we imagine she perhaps used those intimate moments she had alone to reaffirm her identity as a woman. The short film is about the past, but do you feel that with the recent social uprising and through the short itself the younger generations in Chile can relate to its themes? Díaz: His visit was crucial, because after seeing our work he gave us letters of recommendation that were able to use to apply for further government funding in Chile. That was critical for us to finish Bestia in post-production. Having a letter from Mr. Paul Harrod definitely helped us. Paul Harrod, production designer of “Isle of Dogs,” visits the set of “Bestia.” Considering the tone of his work, it may seem evident that Covarrubias cites the macabre undercurrents in the oeuvre of Czech animation masters such as Jiří Trnka and Jan Švankmajer as a major influence. “I started to develop an aesthetic that centered on the darkness within human beings, and by aesthetic I mean both in the narrative and the visuals.”