New Latin American Cinema, Volume Two, Detroit, Wayne State University Press, 1997, pp. Sign up for a FANALERT® and be the first to know when tickets and other exclusives are available in your area. At the same time that Gonzalo’s father sweeps confidently through the black markets and his mother conducts a clandestine affair with a wealthy Argentine benefactor, Pedro and Silvana join their uncle making small change from selling memorabilia to the opposing political factions demonstrating on the streets. In turn, the audience is asked to share in these mixed feelings and produce an emotional as much as an analytical reflection on the past. Being illiterate in Chile's history of political coup of 1973, I saw this as a complete outsider. I will perpetually applaud not only the bravery involved in the delivery of these controversial, anti-political celluloid manifestos whenever they are made, but also the commitment behind these projects such that the national film industry of the country being considered is put on the map. On the one hand, Machuca is able to address these issues due to the authenticity and weight that it given by the well-known factual basis of events within the film. Gonzalo and Pedro’s loving consumption of the Lone Ranger comic books, their greedy scoffing of condensed milk cans, and dancing to the vibrant pop music of the time means that the chaos and suffering around them are mitigated and complicated by genuine enjoyment of their childhood state. Although Chilean filmmakers such as Miguel Littin, Raúl Ruiz and Helvio Soto were at the forefront of an expansion of radical cinema across the continent in the 1960s and 1970s (the New Latin American Cinema movement), their work was curtailed by a military regime that not only exiled and executed left-leaning filmmakers but also removed historical memory of the nation’s cinema through the destruction of important archives. Gonzalo accompanies Pedro and his neighbor Silvana as they sell flags and cigarettes at demonstrations: first nationalistic flags at a demonstration of right-wing nationalists, then flags of the red brigades at a leftist rally in support of the government. Get a Retro Movie. Que momento p ver esse filme mds...VIVA CHILE! 49–76. Ele se aproxima de Pedro Machuca, pobre e de origem indígena, que ganha uma bolsa de estudos neste colégio. Report this film. At an anti-Communist political rally, Gonzalo's mother sticks up for Silvana when Silvana is threatened by the group that Gonzalo's mother is with—until Silvana spits on their car in retaliation and calls Gonzalo’s mother a whore. Santiago, capital of Chile during the Marxist government of elected, highly controversial president Salvador Allende. The film is about Gonzalo's life being affected by Machuca's appearance, discovering anoter reality beyond his and all the shit those kids have to go through.Latin american directors really know how to capture social context like nobody! While Pedro’s racial heritage is not explicitly referred to within the film, his dark features were picked up by various Spanish language reviewers who described him as Indio (Indian/Indigenous). Father McEnroe supports his leftist views by introducing a program at the prestigious "collegio" (Catholic prep school) St. Patrick to allow free admission of some proletarian kids. Deuda histórica saldada.Desde chico veía escenas sin contexto en youtube, hoy todo me hace sentido y me duele. FULL SYNOPSIS. ... decides to confront this matter by giving a handful of poor children a full scholarship. Editors: Fernando Pado, Soledad Salfate. It is this quality that prevents any potential for a didactic political message within the film’s content. The list is…, Here we go! In 1973, in Santiago of Chile of the first socialist president democratically elected in a Latin-American country, President Salvador Allende, the principal of the Saint Patrick School, Father McEnroe makes a trial of integration between students of the upper and lower classes. Within each year…. Two 12-year-old Chilean children from different social classes become friends in 1973. A partir dessa amizade, as tensões sociais (raciais e econômicas) de um país polarizado ficam evidentes naquele microcosmo. This one had a child's perspective and remained thoroughly the same as seen by an innocent mind. So, thank God, Machuca is a Chilean film about the Chilean coup d’état, and it delivers its punches strongly without the need of being propagandistic or sensationalist. Specifically, the film follows Gonzalo as his loyalty is caught between his middle-class, and mostly right-wing family, and his two new friends, Pedro and Silvana, who come from a newly erected slum in the capital city Santiago. Cast: Matias Quer (Gonzalo Infante), Ariel Mateluna (Pedro Machuca), Manuela Martelli (Silvana), Ernesto Malbran (Father McEnroe), Federico Luppi (Roberto Ochagavía).]. Political unrest helps spawn and destroy a friendship between two schoolboys in this drama. So, thank God, Machuca is a Chilean film about the Chilean coup d’état, and it delivers its punches strongly without the need of being propagandistic or sensationalist. This would ordinarily be one of my favourite weekends of the year as I took refuge from the cold and rain as Melbourne International Film Festival moved into full swing. However, nothing much happens here and it keeps showing what is required for a basic viewer. Santiago, capital of Chile during the Marxist government of elected, highly controversial president Salvador Allende. Within Machuca, the attention to detail in the audio and visual recreation of 1970s Chile – from the careful reproduction of costume, props and music as well as graffiti on walls, newspaper headlines and political slogans on placards – means that this testimony is recreated in vivid detail.
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