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Il siciliano
Saturday, July 7, 2018
By Ascanio Cavallo
Diary
El Mercurio
17 years ago, Bettina Perut and Ivn Osnovikoff introduced the One of the craziest documentaries in the history of Chilean cinema, A hombre aparte, on the legendary boxing promoter Ricardo Liao, who, already octogenarian and poor, travels through Santiago imagining himself as the winner than it could have been in the past. Perut and Osnovikoff inaugurated with this film a sort of hard and tilted documentary, centered on the themes of personal decadence and social obsolescence
Il Siciliano is in this line. This time, the protagonist is Juan Carlos Avatte, the most notorious wig businessman in Chile, who died in 2017. Of course, Claudia Adriazola and Jos Luis Seplveda have their own identity as filmmakers, and in this film (where Claudio Pizarro is co-director)) trying to confirm it, despite the fact that they were looking in a world different from the one inhabited by their other films, closer to the populations and the marginality. With Il Siciliano enter a Providence come to less, aosa and poorly favored by the presence of wig business man.
Avatte lives as he always has: a permanent party, full of alcohol and cigarettes and, above all, surrounded by people who love him, although there are many reasons to suspect that this affection expresses itself by living at its expense. Broadcasted by the stars enfiestada house, secretaries, transformistas, izas, rabizas and colipoterras and, especially, a repertory of singers specializing in imitations: The Beatles, Julio Iglesias, Tom Jones, Sandro. At one point, they can be seen, as visitors, Luis Dimas and the "Negro" Piera and Maggie Lay, as a birthday present. And the Pbadapooga, how not.
The project itself has a side of investigation and one of cruelty. The respondents do not realize. The apology of the party inhibits any lucidity. No one will tell Avatte that he is no longer a rajadiablos, but a former lord excited. Nobody will tell you either because, to be fair, Avatte is also the incarnation of an unlimited joie de vivre.
But there is something curious: it is clear that Avatte, who at the time of filming had a terminal cancer, filming and even pretending to stage scenes. It is certain that he did not know, however, that his employee is denouncing him for stinging his salary and that his "partner" is warning the camera that he does not fulfill Avatte's desire to appear lying with two naked women. Avatte wanted his film, but he did not control it.
Adriazola, Seplveda and Pizarro stick to what is perhaps an excess of zeal for the story of Avatte. They limit their film to this tendency to derive that each documentary has (as had the previous Crónica of a committee), although it is visible that in this motley world of little monstrosities, it There are many other stories that have trouble telling each other. And they realize with him a fierce and unforgiving portrait.
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