John King, ‘Chilean Cinema in Revolution and Exile’, Michael T. Martin (ed. A soft-faced, passive boy, he is forced to accompany his mother (Aline Küppenheim) on visits to her lover, an older, wealthy sensualist who buys the boy's complicity with handsome bound editions of Lone Ranger comics. who from 1969 to 1973 was the director of Colegio Saint George (Saint George's College), the private school in Santiago that the film's director attended as a boy.
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. WITH: Matías Quer (Gonzalo Infante), Ariel Mateluna (Pedro Machuca), Manuela Martelli (Silvana) and Ernesto Malbrán (Father McEnroe). While some, such as Sr. Infante, support Father McEnroe's policies, many, including Sra. 63–80. Each fictional account bears witness to painful situations that might otherwise be forgotten or overlooked. Set in the turbulent months leading up General Augusto Pinochet’s violent coup on 11 September 1973, the film’s historical events are witnessed by child protagonists, Gonzalo, Pedro and Silvana. 49–76. 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. At the Film Forum, 209 West Houston Street, west of Sixth Avenue, South Village. The theft of the bike and division between friends coincides with the military usurpation of the legitimate Chilean government. Within Machuca, the child’s gaze is the mechanism for positing the problem of ‘seeing’ events and so the scope of the film is continuously limited to the direct experience of the children. Music: Miguel Miranda, José Miguel Tobar.
This film was nominated for the Ariel Award in 2005 in the category Best Iberoamerican Film. Children see more than they understand, and understand more than they know. There is a constant use of nostalgic moments (Pedro and Gonzalo sharing a bike, reading comic books in bed, attending the birthday party of Gonzalo’s sister) and objects (lollipops, Adidas sneakers, black and white television sets) that present the familiar and remembered past in a way that calls for an emotional relationship with the film’s content. With Matías Quer, Ariel Mateluna, Manuela Martelli, Aline Küppenheim. It won Most Popular International Film at the 2004 Vancouver International Film Festival.
Running time: 120 minutes.
At the private English-language boys' school Gonzalo attends, the headmaster (Ernesto Malbran), a priest flush with the experimental, egalitarian spirit of the Allende government, has granted scholarships to a few boys from the nearby slums. Julianne Burton, ‘The Camera as “Gun”: Two Decades of Culture and Resistance in Latin America’, Latin American Perspectives, 5:1, 1978, pp. The television proclaims that the army has restored order, and a newspaper headline proclaims the return of normalcy. View the profiles of people named Silvina Machuca. John Esther, ‘Chile in the Time of the Generals: An interview with Andrés Wood’, Cineaste, Summer, 2005, p. 67. The Routledge Encyclopedia of Films, Edited by Sarah Barrow, Sabine Haenni and John White, first published in 2015. Gonzalo's father, while sympathetic to the poor and not part of the right-wing movement, wants to leave the country for Italy, where he frequently travels for work at the UN FAO. Directed by Andrés Wood. Many from the middle and upper class, including members of Gonzalo's own family, grow fearful of the socialist movement and plot against the country's elected president, Salvador Allende.
The friendship of the two mirrors the friendship between the Lone Ranger and the Indian Tonto in Gonzalo's favorite comic-book series. The audience, aware from the start that the military coup against Salvador Allende's government lurks on the horizon, feels their sympathy for this child -- and their more general nostalgia for childhood -- shadowed by anxiety and dread. This is not an unproblematic task and, as Luis Martín-Cabrera and Daniel Noemi Voionmaa (2007) have discussed, Machuca provoked fierce public and critical debate about the relevance the problems depicted in the film have for contemporary Chilean society.
Machuca is a 2004 Chilean film written and directed by Andrés Wood. Following films such as Leonardo Favio’s Crónica de un Niño Solo/Chronicle of a Boy Alone (1964), Hector Babenco’s Pixote (1981) and Fernando Meirelles and Katie Lund’s Cidade de Deus/City of God (2002), the children’s innocence and youth is juxtaposed with the role of the adult oppressor and the abuse of power. There are moments that feel forced and schematic -- in particular those that insist on revealing Gonzalo's school as a microcosm of a society riven by class and ideology. But "Machuca" nonetheless has a tough, heavy clarity.
One of them, Pedro Machuca (Ariel Mateluna), becomes Gonzalo's friend, and introduces him to another side of life in Santiago. But because his coming of age takes place in Chile in 1973, his ordinary hardships, joys and rites of passage are charged with inordinate tension. 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. Zuzana M. Pick, ‘Chilean Cinema in Exile, 1973– 1986’ Michael T. Martin (ed.) ), New Latin American Cinema, Volume Two, Detroit, Wayne State University Press, 1997, pp. Wood was of a similar age to Gonzalo during 1973 and his school participated in the experiment whereby the catholic priests decided to mix their students with boys from the lower classes. The friendship between Gonzalo and Pedro shows how arbitrary they are, and how affection and decency can overcome such differences. This in turn points to the uneasy relationship between not only left- and right-wing political factions in Chile at this time but also the hierarchies of class, race and family heritage left over from the country’s colonial era.