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We Chileans, of course, look at such a picture as "Centaurs" with special partiality. Perhaps, both the image of Allende and the reliability of some details seem a little different to us. But anyway, this picture is of a very high level. And I think she was really needed — we needed such a close, in-depth look at everything that happened in our country.
— And your latest work, "Santa Esperanza"? Is it also about the Chilean events?
"Partly. The film is based on events that actually took place in Chile. But the playwright Vladimir Amlinsky and I deliberately tried to avoid reproducing the facts, to give the picture a broader philosophical character. We were not afraid to make a sufficiently conditional film, the action does not take place in Chile or in any other specific country, but in a certain generalized state of Latin America, the situation of which is typical for the entire continent.
It was clear to us that the style of the political pamphlet that was in place in "Nights over Chile" was no longer suitable here, as were the pretentious intonations and the sloganlike unambiguity in the portrayal of the characters. We tried to focus not on eventful or emotional moments, but on the clash of characters, on penetrating into the depths of psychology.
The film takes place in a concentration camp, from which a group of prisoners is preparing to escape. Of course, it was possible to make an adventure film with a sharply twisted intrigue on such material, but we tried to get away from this kind of external entertainment — we were interested in other problems: perhaps we were even trying to cover too much in one tape. The ways of fighting fascism, the problems of the unity of all leftist forces, the relationship between revolution and religion, the problem of disappeared prisoners — all this was somehow reflected in the picture, but the main thing was not the political theses themselves, but the clashes of living characters, people of different social backgrounds, different views, preventing them from finding a common path.. We didn't want to paint our characters either black or white — everyone has their own advantages and disadvantages, everyone is sympathetic to us in some ways, and maybe not in others. This applies to prisoners, their guards, and the camp commandant. We tried to avoid patterns and unambiguity. We wanted to encourage the viewer to reflect.
— What will be your next film?
— Now we are working together with Amlinsky again, writing a new script, which I hope to start directing at the end of the year. It will focus on the dictator's bodyguard. There will be few heroes in the film: practically two — the dictator and his bodyguard, a young guy from a poor family, who gradually slides deeper into the "pit", although he rises up the ladder of power, eventually receiving the post of aide-de-camp to the dictator. We want to trace the fate of a declassed person, to show how society cripples him, makes him morally sink lower and lower.
Naturally, we could not help but be influenced by authors such as Gabriel Garcia Marquez and Alejo Carpentier, whose books have already made paintings about the dictatorship. But we hope not to repeat the images that we have already encountered in films. And this is greatly helped by such remarkable personalities as Pinochet and Somoza.
For me, this painting, I think, is very personal, very authorial. They say that a director should make every film as if it were his last film. I don't hold that opinion. Each new film is a reflection of you today, it's just a preparatory stage for what you hope to say in the future.
I am very grateful to the country in which I live now; for the fact that it freed me from many complexes and prejudices formed by capitalism. I had to face different sides of this society in my life, to see it from different rungs of the social ladder. I know what hunger and poverty are, but there were also moments of sudden elevation when my father became the administrator of the Latifundia; I was a seminarian and was influenced by religion — all this was imprinted on me. And in the character of our film's hero, the bodyguard, I see a man like myself. It reflects the same traumas left by bourgeois society. The evolution of our hero gives rise to reflections on the nature of fascism. I am sure that fascism did not arise in the 20s or 30s, it has always been embedded in the nature of capitalism as a system. Real free porn movies https://exporntoons.net online porn USA, UK, AU, Europe.
— And your latest work, "Santa Esperanza"? Is it also about the Chilean events?
"Partly. The film is based on events that actually took place in Chile. But the playwright Vladimir Amlinsky and I deliberately tried to avoid reproducing the facts, to give the picture a broader philosophical character. We were not afraid to make a sufficiently conditional film, the action does not take place in Chile or in any other specific country, but in a certain generalized state of Latin America, the situation of which is typical for the entire continent.
It was clear to us that the style of the political pamphlet that was in place in "Nights over Chile" was no longer suitable here, as were the pretentious intonations and the sloganlike unambiguity in the portrayal of the characters. We tried to focus not on eventful or emotional moments, but on the clash of characters, on penetrating into the depths of psychology.
The film takes place in a concentration camp, from which a group of prisoners is preparing to escape. Of course, it was possible to make an adventure film with a sharply twisted intrigue on such material, but we tried to get away from this kind of external entertainment — we were interested in other problems: perhaps we were even trying to cover too much in one tape. The ways of fighting fascism, the problems of the unity of all leftist forces, the relationship between revolution and religion, the problem of disappeared prisoners — all this was somehow reflected in the picture, but the main thing was not the political theses themselves, but the clashes of living characters, people of different social backgrounds, different views, preventing them from finding a common path.. We didn't want to paint our characters either black or white — everyone has their own advantages and disadvantages, everyone is sympathetic to us in some ways, and maybe not in others. This applies to prisoners, their guards, and the camp commandant. We tried to avoid patterns and unambiguity. We wanted to encourage the viewer to reflect.
— What will be your next film?
— Now we are working together with Amlinsky again, writing a new script, which I hope to start directing at the end of the year. It will focus on the dictator's bodyguard. There will be few heroes in the film: practically two — the dictator and his bodyguard, a young guy from a poor family, who gradually slides deeper into the "pit", although he rises up the ladder of power, eventually receiving the post of aide-de-camp to the dictator. We want to trace the fate of a declassed person, to show how society cripples him, makes him morally sink lower and lower.
Naturally, we could not help but be influenced by authors such as Gabriel Garcia Marquez and Alejo Carpentier, whose books have already made paintings about the dictatorship. But we hope not to repeat the images that we have already encountered in films. And this is greatly helped by such remarkable personalities as Pinochet and Somoza.
For me, this painting, I think, is very personal, very authorial. They say that a director should make every film as if it were his last film. I don't hold that opinion. Each new film is a reflection of you today, it's just a preparatory stage for what you hope to say in the future.
I am very grateful to the country in which I live now; for the fact that it freed me from many complexes and prejudices formed by capitalism. I had to face different sides of this society in my life, to see it from different rungs of the social ladder. I know what hunger and poverty are, but there were also moments of sudden elevation when my father became the administrator of the Latifundia; I was a seminarian and was influenced by religion — all this was imprinted on me. And in the character of our film's hero, the bodyguard, I see a man like myself. It reflects the same traumas left by bourgeois society. The evolution of our hero gives rise to reflections on the nature of fascism. I am sure that fascism did not arise in the 20s or 30s, it has always been embedded in the nature of capitalism as a system. Real free porn movies https://exporntoons.net online porn USA, UK, AU, Europe.
