Patricio Guzmán left Chile more than 40 years ago when the military dictatorship took over the democratically-elected government, but he never stopped thinking about a country, a culture, and a place on the map that he never forgot. After covering the North in Nostalgia for the Light and the South in The Pearl Button, his shots get up-close with what he calls "the vast revealing backbone of Chile's past and recent history.Written by
Cannes Film Festival
The Chilean Andes witness of a brutal past and present.
Impressive movie of a real artist. Poetic reflection on the years of Pinochet's dictatorship and its consequences to this day. The Cordillera are the Andes of Chile which are shown with beautiful images serving to present the real Chile. These majestic mountains hovering over Santiago have seen 20,000 years of human history and not only the last 500 years.
Between these nature images the history of Pinochet's years are shown with archive footage from another documentary maker who comments in person on them. His story and that of others describe how Allende's dream came to an end by the brutal introduction of the liberal market, which to this day oppresses the Chilean people, making the poor poorer and the rich richer. Stated is in the comments that there is no regret among the oppressors but only the conviction that they did the right thing. The thought and think to make the country healthy murdering their opponents like the Nazis did to make Europe healthy by cutting out the Jewish part. To express regret by them would mean guilt and remorse to which they are incapable. That's all expressed in the commentary and interviews. The oppressors themself do not speak and I would have found that interesting. They are only accused in the movie. Not that I think the accusation is not justified according to what they did in the past. But thinking that they are incapable to have regret is something I would like to be seen checked by interviewing the oppressors.
The Cordillera as a metaphor or witness works well as images in between the interviews and archive footage, processing the inflicted emotions and thoughts with impressive but neutral nature images, music and commentary. It also works very well when the exploitation by copper mining of the Cordillera mountains is shown as a exploitation of Chili by mostly foreign capitalism. And it works wonderful when if the street pavement stones from the Cordillera are shown lying around next to the small copper placates in the pavement with the names of the victims who's blood flowed on these black stones while they screamed for justice.
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