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The first film they made was a milestone in Chilean cinema, but not the type with red carpets or glamorous awards. The pejesapo (2007), the story of a man after his suicide attempt, has become a legend of local cinema, hard to find in theaters, commented by word of mouth , praised for his vision of the marginal in Chile, since the marginal, without mirages, without glamor, nor idealization, nor makeup.
José Luis Sepúlveda and Carolina Adriazola have since become a creative duo revered by some and perhaps feared by others, who see in their films a path directly opposed to the one that invades today the cinema Chilean. It's a political cinema from its theme to its aesthetic and that shows that some of the other and other filmmakers are approaching Chile from a European festival vision. Many times Chile is filmed without Chile.
The films Mitómana (2009) and Chronicle of a committee (2014) followed, and the conversation about the pair continues by being that no one films like them . Real Ferocious. It also feeds the fascination of directors who work so far from the rest of the local circuit: they are premiered at La Granja or La Pintana, sometimes watching more formal festivals without much interest. His feature films are on YouTube, to see without paying a peso. And the biographical data that are repeated over and over in articles, reports and even in movie reviews (which is curious), is that they live in a neighborhood of Santiago.
He now arrives at the theaters of his new documentary, Il Siciliano a profile of Juan Carlos Avatte, the owner of a famous wigs shop and part of the dictatorship of the eighties Chilean. The portrait is full of harshness, a man at the end of his life who, having nothing to lose or nothing to prove, opens the doors to an underground world that does not normally reach the official culture, nor the new Chile so beautiful, so perfect, so refined that we took the habit of seeing reflected in the big screen. Avatte is an endless party man, animated by singers' doubles, accompanied by striptease dancers and nurtured by an everlasting glbad with wine next door. A man who has dedicated himself for decades to beauty with the manufacture of fake hair, but where everything around it is aesthetically decadent, in a house that looks like a labyrinth and that the filmmakers – who lead this time with Claudio Pizarro – describe between nooks and basements and messy rooms and guests who do not leave and pipes that burst, flooding all the illusion of excrement.
For all that precedes, the new film of Sepulveda and Adriazola is shocking, sometimes repulsive and other. Magnetic Avatte has opened them doors for years – we'll see him even naked, after making love.
That's all there should be a documentary outside the Hollywood standards that took us away as spectators. And perhaps also to continue the discussion on ethics and documentary, started by Ascanio Cavallo for the film Maite Alberdi Children on adults with Down syndrome. The reviewer of Saturday's magazine is asked if it was lawful to portray human beings who do not understand what we, on the other side of the screen, will actually see in them . Here Avatte has no cognitive problems, but seems to be always drunk, and also blind to what the world could say about what is happening at home. It's pathetic, but at the same time it's also a king in its field. Once again, the fierce duo of Chilean cinema shows us a world to which, without them, the cinema could not, and did not seem interested, to reach.
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