In De jueves a domingo (2012), Mar (2014) and Tarde para morir joven (2018), Dominga Sotomayor explores the intimacy of a family, a couple and a community. In these approaches, intimacy establishes varying degrees of tension with the outside and the public. These oscillations highlight one of the most frequent and repeatedly studied characteristics of contemporary Chilean cinema: the transformation of intimacy into the locus where the conflicts of the past and the present are indirectly projected. This article considers the way in which Sotomayor's cinema is inscribed in the current panorama of Chilean cinema and, through it, in its socio-political scenario. It aims at doing so analyzing three interrelated problems: the narrative and sensitive forms of representation, their articulation from the narrative, spatial and sensorial positions of the young and the construction of landscape through the interaction between natural environments and subjects that occupy and move through them.