Hispanic Female Quotes

Post mortem of Pablo Larraín

Synopsis

Chile, 1973. Mario, fifty-year employee of a morgue, a man sad and lonely, hopeless courting his neighbor, a stripper younger than him. The coup of Pinochet, with the consequent killing of President Allende, change things and among the corpses accumulated in the hospitals and the military chasing opponents, Mario is found for the first time in life in a position of power.


Post mortem the third film of the Chilean director Pablo Larraín , born from the same obsession that made the previous Tony Manero a grotesque psychodrama that even the identity of the inescapable realities of the contemporary Chilean military dictatorship. It includes the 70, again faces the coup of Pinochet and the resulting climate of fear and death on the streets of Santiago, but does not choose a metaphor to serve as a filter for the interpretation, but goes straight to the heart of trauma, the events of September 1973 which led to the overthrow of the socialist government and the establishment of a military junta by the coup and assassination of the President Salvador Allende in office.


Chile today can only start from there, from a reference worn but never completely overcome, yet able to stifle the imagination of a country and sentenced to a thirst for narrative and mythology that leads to cling to any event of national significance, the tragedy of one of the most devastating earthquakes of modern fairy tale for luck or a happy ending of the miners buried alive by the collapse of an underground tunnel. The magnet of history, however, is stronger than the desire to leave, continues to attract unsuspecting victims because they never accepted the daughters of a compressed yet fully realized: the compromise, that is, with the idea the military dictatorship is the founding moment of modern Chilean society. For

Larraín, born in 1976, three years after the death of Allende, the violence is explicit and invisible Pinochet era is a natural condition before, an original sin unspeakable, but necessary, because the only existing his country and people of his generation. The fault lies nell'ineluttabilità of this destiny, in a condition such as natural history in Larraín to get involved and that is the basis of its two negative film ideally almost indistinguishable.

Post mortem, then, is the whole life of Chilean society, addicted and no longer shocked by the death and abandoned to the thud of his own indifference as happens to a doctor specializing in autopsies, the nurse or her assistant clerk in charge of transcribing the results, but not for scientific reasons but existential. The discouragement and abandonment seem to have the same Larraín and the way that looks petrified reality of his country. Post-mortem with choose to add the power of stupidity, making Mario, his man without qualities who takes charge of its destiny, a fascist experienced, indifferent, violent and ambitious.

Yet, at the bottom This path of ruthless self-analysis, Larraín finds the strength to react. There is no surrender, attests to the existence of evil as an ethical foundation of his people, but wondered how to exorcise it, continues in the darkness of history to get to the starting point of the spiral so far, a filmography after only two films have already seen this page, dragged him down and ruin.

Larraín knows where he wants to get there, knows what is the repressed collective of his nation: we just want to get prepared, and especially wants to prepare his audience. To do revolves around the problem, the approaches to scramble play the times of waiting and preparation, suggests but does not show and merely suggest (what looks like the image of the doctor with his helmet last existing photo of Allende, crushed by the military helmet and frightened by the proximity of death?) : you understand immediately where they will come, but not when and how.

obsessive and maybe even traditionalist, Larraín can not come to blame for a Chilean company that fully embodies and which can not fail to recognize their origin. His anthropology is negative natural history, the collective guilt of the individual within a political context, cultural and emotional violence that is in the unique response to change and incomprehension.

The dead body of Allende's body was Larraín that puts the origin of his films, with his magnetic presence makes the real goal of the director: the staging of the guilty conscience of an entire country, meeting with the repressed returns in other forms. Its operation could be worth more cinematic, with a human body that becomes the objective correlative historical and ethical implications of a nation.


addition Larraín can not and does not want to go. His research is a port, but not a palingenesis, and the lucidity with which he confronted the black heart of his country considers but does not redeem, notes but does not change. The accumulation of dead bodies in the hospital in Santiago is equal to the accumulation of debris in which Mario, in the final film, made with a flatbed endless and irremediable, buried alive and her lover Sandra. People and objects are placed on an equal footing, the madness of power generates the madness of the individual and the indifference with which the military kill men and women is reflected in the intent with which Mario kills his love, and earlier in the ruthlessness with which this' Last masturbates her savior. The public is private, just as it was in the Italian squares in the same year the Chilean coup, but ends up upsetting each value and trample the lives of those is involved in the plot of the story.


violence come from, in short, as we return to violence and drawn to a center that we know, but we forgot the face and name. This is true not only for the Chilean people, but also for ours, as we are still steeped in the blood created by terrorism. The years of lead Italy to represent a confluence of public and private abuses similar to that of Chile, a spiral of death and fear that it too has found its way to the bottom of a body to kill and remove ideally, that of Aldo Moro of course that means a film like Good Morning, Night returns as the main reference for the presence of Allende in Post mortem . Although there

Bellocchio approached the body of a man raped power to seek a release that no historical event has been able to implement. And he found it, finally, in a scandal visual equal and opposite to that of Larraín, in a walk along the streets of Moro in Rome, at the dawn of a new day impossible. A dream, but a dream, but also a way, the only film can achieve, to lift our country from the same cul-de-sac in which it seems trapped Chile Pablo Larraín.