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Dialogues of Exiles (1975)
"Diálogos de exiliados" (original title)

7.4
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Ratings: 7.4/10 from 65 users  
Reviews: 1 user | 5 critic

Chilean exiles in Paris discuss the problems facing them. They kidnap and attempt to re-educate a touring singer from their fatherland.

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(as Raúl Ruiz)

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Title: Dialogues of Exiles (1975)

Dialogues of Exiles (1975) on IMDb 7.4/10

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Cast

Credited cast:
Françoise Arnoul
Huguette Faget
Sergio Hernández ...
Fabián Luna (the kidnapped singer)
Carla Cristi
Carlos Solanos
Jorge Barra
Irene Domínguez
Chacho Urteaga
Pablo de la Barra
Percy Matas
Rest of cast listed alphabetically:
Etienne Bolo
Edgardo Cozarinsky ...
Edgardo
Humberto Miranda ...
Pancho
Luis Poirot ...
Luis / Lucho
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Storyline

Chilean exiles in Paris discuss the problems facing them. They kidnap and attempt to re-educate a touring singer from their fatherland.

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Release Date:

23 April 1975 (France)  »

Also Known As:

Dialogues of the Exiled  »

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User Reviews

 
Critical, radical masterpiece of the Chilean diaspora
1 June 2008 | by (United Kingdom) – See all my reviews

Magisterial, droll low-budget work is the first film Ruiz made in France after fleeing the Pinochet dictatorship - and also the first feature film of the Chilean diaspora. Many in the Chilean exile community rejected the film for its allegedly 'light' handling of heavy subject matter (reactionary race/gender/class attitudes, party-political fundamentalism, torpor and corruption among the exiles); it has a comparable bite and feel to Ousmane Sembène's great political satire XALA (also 1975). Wonderful performances from non-actor exiles abound (particularly impressive as most takes last several minutes) but the standout is Sergio Hernández (who went on to play the lead in Ruiz's final feature, NIGHT ACROSS THE STREET, 2012) as the singer kidnapped by the exiles. Ruiz cited Mizoguchi as an inspiration for his play with spatial uncertainty in Parisian apartments, though anyone familiar with Godard's 2 OR 3 THINGS I KNOW ABOUT HER... (1967) will notice another master's Brechtian influence. Stylistically the film's rough edges recall Ruiz's NADIE DIJO NADA (1971) and PALOMITA BLANCA (1973) more than the elegant work he went on to craft in France and Portugal over the following decade.


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