{"id":319,"date":"2020-05-19T12:39:38","date_gmt":"2020-05-19T16:39:38","guid":{"rendered":"http:\/\/www.chiledoc.cl\/new\/?p=319"},"modified":"2020-08-14T18:00:01","modified_gmt":"2020-08-14T22:00:01","slug":"el-documental-chileno-tendra-en-paris-la-muestra-mas-grande-de-su-historia","status":"publish","type":"post","link":"https:\/\/www.chiledoc.cl\/en\/el-documental-chileno-tendra-en-paris-la-muestra-mas-grande-de-su-historia\/","title":{"rendered":"The Chilean Documentary will have the largest exhibition of its history in Paris"},"content":{"rendered":"

– Chili, cin\u00e9ma obstin\u00e9<\/strong> is the name of the tribute that will feature more than 40 national documentaries between 1958 and 2020.<\/p>\n

– The exhibition, which had to start in April and was suspended due to the wake of the pandemic, will finally begin its screenings on September 11, 2020.<\/p>\n

– It will be held in the Public Library of the Pompidou Center and in the network of cinemas of the Documentary Film Library.<\/p>\n

The unprecedented retrospective highlights the cultural and professional value that the documentary audiovisual sector has acquired worldwide. This is made clear by Harm Pietr Bos, programmer of La Cin\u00e9math\u00e8que du Documentaire and curator of the exhibition: \u00abThe two red threads of the cycle are, on the one hand, the role played by Chilean documentaries as tireless and obstinate chroniclers of life and society in Chile; and on the other hand, the influence of the very particular topography of the country, a topography that is not only a simple decoration, but also a true driving force in films \u201d<\/p>\n

The tribute reveals the diverse regards that exist throughout the country. It highlights the work of young filmmakers and the commitment of the numerous collectives that testify the social situation existing in Chile but at the same time emphasizes the most striking works of three leading figures in national cinema: Patricio Guzm\u00e1n, Carmen Castillo and Ignacio Ag\u00fcero.<\/p>\n

Diego Pino, director of Chiledoc, the sectorial brand of the national documentary, explains the relevance of the exhibition for both the sector and those who are behind the productions: \u201cThat a program of Chilean films like this one takes place at the Pompidou Center is not just a historical moment, but it is also an opportunity, for the entire Chilean documentary sector, to give an account of the cinematography that we have and the quality of our works, which is being highlighted by such an important cultural space as the Pompidou in such a cinema consuming country like France. The retrospective opens a door to not only show what we are doing and the productions that are being carried out, but also as an excellent moment to open new exhibition windows around the world, which in turn allows us to expand the commercial opportunities for the filmmakers behind these films \u00bb<\/p>\n

For Bos, who knew the national documentary thanks to the films created by Patricio Guzm\u00e1n and Carmen Castillo, and who was in Chile before as a jury at FIDOCS, the tribute comes from wanting to make visible, understand and support what is happening in the country: \u201cThe three months cycle (from September 11 to December 18) will not be enough to try to better understand the complexity and the historical and social dimension of a country where the persistence of the struggles only corresponds to the tenacity of filmmakers who film them. But with a perhaps chimerical ambition: to bring a little of the spirit of Santiago to the Parisian cinemas \u201d<\/p>\n

The documentaries: the guests of honor<\/strong><\/p>\n

The exhibition, which will have more than 70 screenings, is organized by the Public Library of the Pompidou Center in Paris, in collaboration with La Cin\u00e9math\u00e8que du Documentaire, and will begin on Friday, September 11 with El viaje espacial<\/em>, directed by Carlos Araya and produced by Mar\u00eda Paz Gonz\u00e1lez and It will end on Friday December 18 with the exhibition of La ciudad perdida<\/em>, directed and produced by Francisco Herv\u00e9.<\/p>\n

Here are the titles:<\/p>\n

Beyond My Grandfather Allende<\/em> \u2013 Marcia Tambutti Allende
\nArcana<\/em> \u2013 Crist\u00f3bal Vicente
\nIn the name of God<\/em> \u2013 Patricio Guzm\u00e1n
\nOne hundred children waiting for a train<\/em> \u2013 Ignacio Ag\u00fcero
\nChile, no invoco tu nombre en vano<\/em> \u2013 Gast\u00f3n Ancelovici
\nCofralandes 1: hoy en d\u00eda (Rapsodia chilena)<\/em> \u2013 Ra\u00fal Ruiz
\nComo me da la gana<\/em> \u2013 Ignacio Ag\u00fcero
\nComo me da la gana II<\/em> \u2013 Ignacio Ag\u00fcero
\nCuentos del futuro<\/em> \u2013 Pachi Bustos
\nCr\u00f3nica de un comit\u00e9<\/em> \u2013 Jos\u00e9 Luis Sep\u00falveda, Carola Adriazola
\nGod<\/em> \u2013 Colectivo MAFI
\nDesordenado y desali\u00f1ado<\/em> \u2013 Carlos Flores del Pino
\nThe Pearl button<\/em> \u2013 Patricio Guzm\u00e1n
\nThe Pinochet Case<\/em> \u2013 Patricio Guzm\u00e1n
\nThe Chilean Building<\/em> \u2013 Macarena Aguil\u00f3
\nThe Young Butler<\/em> \u2013 Marcela Said
\nEl pa\u00eds de mi padre<\/em> \u2013 Carmen Castillo
\nHarley Quinn<\/em> \u2013 Carola Adriazola, Jos\u00e9 Luis Sep\u00falveda
\nI never climbed the Provincia<\/em> \u2013 Ignacio Ag\u00fcero
\nThe other day<\/em> \u2013 Ignacio Ag\u00fcero
\nThe battle of Chile 1. The Insurrection of the Bourgeoisie<\/em> \u2013 Patricio Guzm\u00e1n
\nThe battle of Chile 2. The Coup d\u2019Etat<\/em> \u2013 Patricio Guzm\u00e1n
\nThe battle of Chile 3. The Power of the People<\/em> \u2013 Patricio Guzm\u00e1n
\nCity of Photographers<\/em> \u2013 Sebasti\u00e1n Moreno
\nThe Lost City<\/em> \u2013 Francisco Herv\u00e9
\nThe cordillera of dreams<\/em> \u2013 Patricio Guzm\u00e1n
\nLa flaca Alejandra<\/em> \u2013 Carmen Castillo
\nEl chileno Charles Bronson (o id\u00e9ntico al mismo)<\/em> \u2013 Carlos Flores del Pino
\nEl viaje espacial<\/em> \u2013 Carlos Araya D\u00edaz
\nThe crosses<\/em> \u2013 Carlos V\u00e1squez M\u00e9ndez, Teresa Arredondo
\nThe dreams of the castle <\/em> \u2013 Ren\u00e9 Ballesteros
\nThe Grown-Ups<\/em> \u2013 Maite Alberdi
\nNo olvidar<\/em> \u2013 Ignacio Ag\u00fcero
\nNostalgia for the light<\/em> \u2013 Patricio Guzm\u00e1n
\nCuando la gente despierta<\/em> \u2013 Andr\u00e9s Racz
\nCalle Santa F\u00e9<\/em> \u2013 Carmen Castillo
\nIf you listen carefully<\/em> \u2013 Nicol\u00e1s Guzm\u00e1n
\nSurire<\/em> \u2013 Bettina Perut, Iv\u00e1n Osnovikoff
\nTierra de Agua<\/em> \u2013 Carlos Klein
\nSolitary Land<\/em> \u2013 Tiziana Panizza
\nUltraman, la historia solitaria de Erwin Valdebenito<\/em> \u2013 Cristi\u00e1n Leighton <\/p>\n

Without a doubt, the pandemic has affected our documentary audiovisual industry, however, there are different alternatives in order to cope in a good way with the context we are experiencing. Events that were canceled are rescheduled, digital platforms like Filmarket Hub keep the markets going, organizations like Nosotras Audiovisuales raise new calls and there will always be documentaries to accompany us in these days of quarantine.<\/p>\n

Our stubborn industry keeps going, be part of it.<\/p>\n","protected":false},"excerpt":{"rendered":"

– Chili, cin\u00e9ma obstin\u00e9 is the name of the tribute that will feature more than 40 national documentaries between 1958 and 2020. – The exhibition, which had to start in April and was suspended due to the wake of the pandemic, will finally begin its screenings on September 11, 2020. – It will be held […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"acf":[],"_links":{"self":[{"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts\/319"}],"collection":[{"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/comments?post=319"}],"version-history":[{"count":12,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts\/319\/revisions"}],"predecessor-version":[{"id":1284,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/posts\/319\/revisions\/1284"}],"wp:attachment":[{"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/media?parent=319"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/categories?post=319"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.chiledoc.cl\/en\/wp-json\/wp\/v2\/tags?post=319"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}