Chilean Filmmaker Thomas Woodroffe Explores Ghost Cinema and Patagonian Hauntology in Debut Feature ‘Erratics,’ Premiering at San Sebastian

Blending speculative fiction, ghost cinema, and Patagonian hauntology, Chilean filmmaker Thomas Woodroffe is set to make a striking splash on the international festival circuit with his debut feature film, “Erratics” (“Bloques erráticos”). The highly anticipated project is holding its world premiere in the prestigious New Directors sidebar at the San Sebastian International Film Festival, introducing audiences to a distinctively atmospheric cinematic language that bridges the gap between historical preservation and speculative storytelling.

At its narrative core, “Erratics” tracks the spectral journey of French filmmaker Lucien Castelnau. After being trapped inside a massive Patagonian glacier for an entire century, Castelnau’s ghost suddenly wakes up in the stunning yet radically transformed landscapes of the region. The film’s official synopsis outlines a deeply philosophical and haunting odyssey: “As he wanders through a technological society built upon the remnants of forgotten histories, he encounters traces of indigenous memory, displaced communities and visions of a world that no longer resembles the one he left behind.”

In doing so, the narrative delves deeply into profound metacinematic questions, exploring what becomes of images, memories, and artworks that ultimately fail to find their audience. It forces viewers to ponder a fundamental existential query for creators: Can a film truly exist if it is never seen?

Elaborating on the central metaphor driving the movie, the synopsis draws a direct parallel between the protagonist and geological formations. “Like an erratic boulder carried by ice and abandoned in a place where it does not belong, Lucien becomes a wanderer between times, searching for meaning, recognition, and a place for his unfinished legacy.”

Bringing this spectral French filmmaker to life is acclaimed French actor Denis Lavant, best known for his iconic work in masterworks such as Claire Denis’ “Beau Travail.” Lavant’s deeply evocative voiceover work serves as a guiding thread through the movie, adding an extra layer of haunting resonance to Woodroffe’s striking visual imagery and desolate Patagonian vistas.

The origins of “Erratics” are rooted in an astonishing stroke of serendipity, according to the director. Reflecting on how the project first took shape, Woodroffe recalls an accidental discovery that altered the course of his artistic career.

“Six years ago, a friend told me about an academic research paper on ancient photographs of Patagonia,” Woodroffe explains. “When I asked her to send it to me, she got confused and sent me the wrong paper. The research was about a recent discovery of the ethnographic documentary ‘La Terre de Feu’ (1925), at La Cinémathèque de Toulouse. This serendipity was the starting point of ‘Erratics.’”

This unexpected encounter with cinematic history mirrors the broader thematic philosophy that underpins Woodroffe’s creative vision. Discussing the driving spirit behind his work, the director emphasizes his profound faith in the medium’s transcendent properties. “I believe in the possibility of cinema to be a ghost, to invoke voices from remote times and bring them back to life in the present,” he says.

Woodroffe approaches filmmaking not merely as a commercial or narrative endeavor, but as an act of cultural preservation. Functioning simultaneously as the film’s director, screenwriter, cinematographer, and colorist, he has consistently sought to bridge the distinct yet overlapping worlds of active filmmaking and film preservation.

His impressive journey in the industry began with his breakout short film, “Astral Fever,” which enjoyed its world premiere at the 1976 Biennale and earned a special mention in the Nest competition at San Sebastian. Demonstrating his versatility behind the camera, Woodroffe also served as the cinematographer on Diego Céspedes’ acclaimed short “The Summer of the Electric Lion,” which captured the prestigious Grand Prize at the Cannes Film Festival’s Cinéfondation. Furthermore, his academic pursuits reflect this dedication to protecting cinematic heritage; Woodroffe has been actively pursuing a Master’s degree in Film Preservation at Elías Querejeta Zine Eskola, located in San Sebastian.

On the business and distribution front, international sales for “Erratics” are being handled by Paris-based MPM Premium. The company’s involvement with Woodroffe’s debut further bolsters its ongoing commitment to championing some of the most daring, original, and uncompromising voices working within modern-day Latin American cinema. MPM Premium has built a stellar reputation for representing critically acclaimed, boundary-pushing art-house titles on the global stage. Recent additions to their robust sales roster include such notable festival players as “Rains Over Babel,” which premiered at the 2025 Sundance Film Festival, “The Red Hangar,” showcased in the Berlinale Perspectives section, and “The Riverbank” (“A Margem do Rio”), which competed in the main competition at the Locarno Film Festival.

Natalia Isotta, head of festivals and Ibero-American sales at MPM Premium, highlights the unique meta-narrative connection between the sales company’s mission and the plot of Woodroffe’s film.

“As a sales company, our work is to help films find their audience,” Isotta notes. “Rarely do we encounter a film that turns that very journey into the heart of its own story.”

“Erratics” is a truly collaborative international endeavor, produced by Fiebre SpA in Chile, La Belle Affaire Productions in France, and Un Puma in Argentina. Alongside lead actor Denis Lavant, the film boasts a remarkably eclectic and distinguished supporting cast. It features performances by Francesca Bozzano, Dominique Legoupil, Reinaldo Caro, and Daniel Muñoz. Notably, the ensemble cast also includes appearances by several celebrated contemporary film directors, adding an extra layer of cinephilic intrigue as filmmakers Dominga Sotomayor—director of “La Perra”—and Felipe Gálvez—director of the acclaimed historical drama “The Settlers”—step in front of the camera to lend their talents to Woodroffe’s visionary project.

With its unique synthesis of speculative fiction, ecological dread, ghostly melancholy, and meticulous archival spirit, “Erratics” arrives at San Sebastian as one of the most intellectually stimulating and visually distinct debuts of the festival season, signaling the arrival of a major new voice in international cinema.