Set in Chile, 1973, this is an astonishingly intimate and painful coming-of-age story about a pair of 12-year-old boys from opposite extremes of society who form an unlikely friendship during the last days of Allende and the first days of Pinochet. Machuca’s examination of class, social structures and the state is part of a lengthy political filmmaking tradition in Chile yet one that was interrupted and sent overseas for an extended period. Machuca is a staple of the Garifuna, descendants of intermarried Africans and Carib natives who live on the Atlantic coast of Central America It's a sticky, satisfying mash of sweet and green plantains, rolled … New Latin American Cinema, Volume Two, Detroit, Wayne State University Press, 1997, pp. Frequently in Latin American films with child protagonists, marginalised children become a symbol of a society in which it is impossible to grow. Enter your location to see which movie theaters are playing Machuca near you. 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 … Screenwriters: Roberto Brodsky, Mamoun Hassan and Andrés Wood. 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. The Routledge Encyclopedia of Films, Edited by Sarah Barrow, Sabine Haenni and John White, first published in 2015. Their meeting is the outcome of a socialist programme within Gonzalo’s private school that offers scholarships to students from poor backgrounds yet much of the film plays out amongst their families and the urban districts of Santiago. Gonzalo befriends Pedro Machuca (Ariel Materluna) and, in doing so, not only learns to see the "other side" as real people, but learns of the primitive living conditions of the poor in Santiago. The friendship and the conflict around them change their lives and their country forever. Describe the relationship between Gonzalo and Machuca. We have the other character, Silvana, who is Machuca’s cousin who draws Gonzalo’s attention positively with his charming playfulness. A semi-autobiographical account of the tragic events of Chile's 1973 coup seen through the eyes of two 11-year-old boys. 'Machuca' is set in Chile in the 1970s, a period of looming chaos, but its story of children swept into a vortex of terrible events is universal. Analysis: When Andrés Wood’s Machuca opened to nationwide box office success and critical acclaim in Chile during 2004, it placed itself within a twenty-first-century generation of bold and provocative Latin American films and proved that after almost 30 years without any significant film industry, Chilean cinema was able to return to the world stage. "Machuca" If this weren't a mish mosh of two genres, it might have been a whole lot more effective. There are many themes in Machuca including Love and hate. Machuca is a Spanish film that was both directed and produced by Andres Wood, and was released on May 4, 2004 in the country of Chile. It was all the more remarkable for its sensitive treatment of Chile’s political history at a time when discussion of the country’s military dictatorship (1973–1990) remained taboo. 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. While the film is titled Machuca, it is largely seen through the eyes of Gonzalo and it is his coming of age story. 423–40. Santiago, Chile, 1973: the Socialist government of Allende. Machuca is a quiet film, moving sadly toward its inevitable climax, the final scenes a lesson in the methods by which the military restores order to a divided country. 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. Instead, they point to the fragmented and destabilised situation that negated any possibility of a rational or balanced understanding of what occurred. Martín-Cabrera and Voionmaa rightly note that by the end of the film, Gonzalo has become a witness to state-sponsored violence and that the football field that he looks out onto in the final sequence is haunted by the ghosts of Chile’s violent past. Patricio Guzman, Raoul Ruiz, Miguel Littin, Helvio Soto and other directors continued to provide critical analysis of their home country, often touching on the same time period as Machuca, but their locations overseas necessitated reflective, often introverted, consideration of their new position as an exile caught between past and present, home and afar. The true-life nature of events and the trauma that ultimately unfolds means that comparisons can be drawn between Machuca and the testimonial literature that emerged in the wake of repressive military regimes across Latin America in the twentieth century. However, Woods evades any sense of presenting black and white facts and has stated in interview that ‘it’s a partial history, subjective, and it doesn’t pretend to be the official story’ (cited in Esther, 2005: 67). Yet the new classmates become buddies, paradoxically protesting together as Gonzalo gets adopted by Pedro's slum family and gang. Machuca is a 2004 Chilean film written and directed by Andrés Wood. Fandango FANALERT® Sign up for a FANALERT® to find out when tickets are available in your area. Also sign me up for FanMail to get updates on all things movies: tickets, special offers, screenings + more. Summaries. See 6 authoritative translations of Machuca in English with example sentences, conjugations and audio pronunciations. Nonetheless his small, diminutive figure within the scene makes it clear that it will take time before he is old enough to understand what it is that he has witnessed. What draws them to each other? –“Formal analysis with the training wheels on” – suggest relevance ... Machuca (Andrés Wood, 2004) Judgment & Prejudice Treat documentary and nonfiction as rhetorical/ constructed De-naturalize the connotative and persuasive aspects of documentary interviews John King, Magical Reels: A History of Cinema in Latin America, London, Verso, 2000. ), New Latin American Cinema, Volume Two, Detroit, Wayne State University Press, 1997, pp. Gonzalo and Machuca become very good friends – despite the bad treatment of Silvana . 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. What was the relationship like between Gonzalo and Machuca? Cinematographer: Miguel Ioann Littin Menz. Machuca shows him the other side of the life in Santiago. The ongoing traces of these issues in contemporary society made the film particularly potent on its release, provoking much debate within cinemas and across Chile’s various press and other media. It is telling that Gonzalo is given the most screen time within the film, and it very much appears to be his story, but it is Pedro, whose surname is Machuca, who becomes the namesake for the film. 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. 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. Production Company: Wood Producciones. They meet at an elite, English-language Catholic school, where the director, Father McEnroe, is developing a social integr… A Funny Thing Happened on the Way to School... MONEY Master the Game: 7 Simple Steps to Financial Freedom, The 5 Love Languages: The Secret to Love that Lasts, Midnight in Chernobyl: The Story of the World's Greatest Nuclear Disaster, Trillion Dollar Coach: The Leadership Playbook of Silicon Valley's Bill Campbell, 0% found this document useful, Mark this document as useful, 0% found this document not useful, Mark this document as not useful. 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. When Andrés Wood’s Machuca opened to nationwide box office success and critical acclaim in Chile during 2004, it placed itself within a twenty-first-century generation of bold and provocative Latin American films and proved that after almost 30 years without any significant film industry, Chilean cinema was able to return to the world stage. The parents of both boys – or at least their mothers seem to approve the friendship of their sons – they are having fun and earning money – by selling Chilean flags on political rallies … 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. Zuzana M. Pick, ‘Chilean Cinema in Exile, 1973– 1986’ Michael T. Martin (ed.) Although many of the successful political films of the New Latin American Cinema movement, such as La Hora de los Hornos/The Hour of the Furnaces (Octavio Getino and Fernando Solanas, 1968), Deus e o Diabo na Terra do Sol/Black God, White Devil (Glauber Rocha, 1964) and Memorias del subdesarollo/Memories of Underdevelopment (Tomás Gutiérrez Alea, 1968), experimented with film style and narrative tendencies, Machuca returns to more conventional storytelling techniques (a linear narrative, continuity editing and lucid characterisation) in order to show its events in a coherent manner. Cinema Signal: Italian Cinema and Literary Adaptation by Millicent Joy Marcus . 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. Observe the way the color palette changes throughout the film. ANÁLISIS DE LA PELICULA MACHUCA(CHILE) Tipo de discurso: Consideramos que la película tiene un discurso retorico, puesto que muestra la realidad de los grupos más vulnerables de la sociedad creando simpatía inmediata en el receptor o publico que observado subjetivamente la lucha John King, ‘Chilean Cinema in Revolution and Exile’, Michael T. Martin (ed. It also happens to be one of the most gripping and soul-stirring dramas ever made about the virulence of class warfare and its manifold toxins. The idea behind the hatred between the communist and Socialist adult and children is saddening but there i one exception. Also sign me up for FanMail to get updates on all things movies: tickets, special offers, screenings + more. [Country: Chile, Spain, UK, France. ENTER CITY, STATE OR ZIP CODE GO. 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. Santiago, capital of Chile during the Marxist government of elected, highly controversial president Salvador Allende. Enter your location to see which movie theaters are playing Machuca near you. John Esther, ‘Chile in the Time of the Generals: An interview with Andrés Wood’, Cineaste, Summer, 2005, p. 67. Machuca (2004) movie review: Set in 1973 Santiago, Andrés Wood’s mix of coming-of-age drama and sociopolitical commentary is a generally engrossing effort anchored on first-rate performances by a trio of young actors – Matías Quer, Manuela Martelli, and Ariel Mateluna – playing characters from different ranks of Chile’s deeply stratified society. 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. Each fictional account bears witness to painful situations that might otherwise be forgotten or overlooked. They both discover each other's world as political tensions in their country increase. Peter B. Schumman points to the extraordinary situation in the late 1970s whereby, for the first time in cinema’s history ‘a national cinema has been forced to try to continue its life internationally because almost everyone working in film has been driven into exile’ (1979: 13). 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. Two 12-year-old Chilean children from different social classes become friends in 1973. Fandango FANALERT® Sign up for a FANALERT® to find out when tickets are available in your area. 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. Observe how the mise-en-scene gives clues to the political and social happenings in the film. Director: Andrés Wood. The relationship between Silvana, Machuca and Gonzalez and the way that they stick together as friends and the chemistry between them. Santiago, capital of Chile during the Marxist government of elected, highly controversial president Salvador Allende. At the same time, Machuca purposefully eschews objectivity by filtering events through the eyes of children in a way that reminds us of the instability of obtaining a clear view. 49–76. Rich Dad Poor Dad: What The Rich Teach Their Kids About Money - That the Poor and Middle Class Do Not! “Machuca” is framed around the last days of the UP (Unidad Popular) government of Salvador Allende in 1973” (Martín-Cabrera & Voionmaa, 2007). Producers: Mamoun Hassan, Andrés Wood and Gerardo Herrero. This is a two page WS (or mini-Webquest assigned on Google Classroom - link to Google Doc included) designed for Spanish 4 students after watching the movie Machuca. Translate Machuca. They are unaware of how their country is dramatically changing but instead experience highly personal moments such as the entry of soldiers into the school; the poignant moment during which Padre McEnroe denounces the new regime by devouring the sacred host and declaring god is no longer there; and the harrowing moment when Silvana is shot dead. Machuca was the first major release emanating from within Chile’s national borders to explore the military coup and to suggest how a national public sphere may see itself and its past. 63–80. 13–14. ENTER CITY, STATE OR ZIP CODE GO. Pedro (Machuca) lives in a shanty town, and is the son of the woman who cleans house for Gonzalo’s family. The film premiered at a time (14 years after the end of the dictatorship) when Gonzalo would have reached adulthood and been at a suitable age to undertake this understanding; thus the reflective, looking back nature of Machuca. Nonetheless, critical questions are raised. This factor becomes all the more important at the end of Machuca when Gonzalo retreats into his comfortable middle-class world and Pedro and Silvana have exited the screen. Editors: Fernando Pado, Soledad Salfate. [font=Century Gothic]"Machuca" is an ordinary and superficial coming-of-age movie with strong echoes of "Au Revoir Les Enfants" whose sole distinction is its setting which it does not take full advantage of. They match the characters with their descriptions, watch an interview with the writer the character Pedro Machuca was based on, and de When the coup does take place, these characters have no overview of the political mechanisms that are taking place at a national, regional and global level (the US support for the new regime for example). The most antipathetic character for me in the movie was the cousin of Machuca – Silvana – who treated Gonzalo really badly calling his Snob and making fun of him every time she can. One of Chile's most successful young filmmakers, Woods lets the facts speak for themselves, and Machuca makes its points with an emotional power unencumbered by bias or simplistic messages. — Anonymous. The #1 Movie Review, Analysis, Question and Answer Site Machuca (2004) ... One of them is Pedro Machuca, slum-raised son of the cleaning lady in Gonzalo Infante's liberal-bourgeois home. Cast: Matias Quer (Gonzalo Infante), Ariel Mateluna (Pedro Machuca), Manuela Martelli (Silvana), Ernesto Malbran (Father McEnroe), Federico Luppi (Roberto Ochagavía).]. While the debates provoked by Machuca’s treatment of Chile’s past will never be conclusively resolved, the national and international presence of the film has allowed it to introduce an audiovisual reflection on a difficult period in history that demands audience engagement which is active and involved. In order to support the Silvana’s father about his political condition, these three intimate friends sell flag at meetings and demonstrations. Machuca, a movie review by Jules Brenner. Gonzalo’s overly-affectionate mother is openly engaged in a long-term affair with a wealthy married … In Santiago, Chile, during 1973, the democratically elected socialist government of Salvador Allende is under siege. It is this quality that prevents any potential for a didactic political message within the film’s content. Post Discussion. 11-year-old Gonzalo Infante is a wealthy boy who attends an elite school that is socially integrated by its progressive American headmaster, Father McEnroe. Gonzalo makes friends with one of the poor newcomers, Pedro Machuca. 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). Julianne Burton, ‘The Camera as “Gun”: Two Decades of Culture and Resistance in Latin America’, Latin American Perspectives, 5:1, 1978, pp. Luis Martín-Cabrera and Daniel Noemi Voionmaa, ‘Class conflict, state of exception and radical justice in Machuca by Andrés Wood’, Journal of Latin American Cultural Studies, 16:1, 2007, pp. 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. Machuca Set in the days leading up to the 1973 military coup in Chile, this is an evocative and touching tale seen through the eyes of two 11-year-old boys from different social classes. While the upper middle class is shown as elitist and disdainful of the working class, Pedro's family is also not portrayed in glowing terms. Peter B. Schumann, ‘The Chilean Cinema in Exile’, Framework, 10, 1979, pp. This aspect allowed them to make a comparison between the young friends and the conflicted but often reconciliatory relationship between cowboys and Indians in the comic books that the young boys adore. The film “Machuca” by Andres Wood provided an insight of the series of social events in Chile in 1973, ranging from inter personal experiences to political issues and the Chilean nation. The movie revolved around the main character who is a young school aged boy named Gonzolo Infante, who is played by actor Matias Quer. A particularly good one is Machuca, a film from Chile about a young boy's coming-of-age. ... , An Aspect Of Love, Alive In The Ice And Fire Analysis, Acey Deucey Rules Golf, … They suggest that the film itself is conscious of society’s difficulty of ‘seeing’ the events of the coup and understanding how they continue to have an impact on the present. Although Wood has stated emphatically that the film is not autobiographical, his film draws on moments that did occur. Machuca Analysis . 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. Gonzalo (Matías Quer), one of the wealthy boys at the school, quickly takes a shine to Pedro, and the two become fast friends. 397–419. Chile has gone through multiple times of dictatorship, lead by the military, and also had lapses of a socialist government. DOCX, PDF, TXT or read online from Scribd. This use of the child’s view continues a trend within Latin American filmmaking that uses children as central characters to explore wider social and political issues. Although highly traumatic, these events should not necessarily be read as a micro-representation of the situation as a whole. Music: Miguel Miranda, José Miguel Tobar. Pedro is one of a group of “scholarship students” that the head priest has invited to St. Patrick’s in an attempt to create a bit of equity in society. Set in 1973 Santiago during Salvador Allende's socialist government until shortly after General Augusto Pinochet's military coup in 1973, the film tells the story of two pupils: Gonzalo Infante comes from a rich family with a European background, while Pedro Machuca comes from an indigenous background and lives in very poor conditions. In this way, Machuca doesn’t completely avoid the tendency for Chilean culture to ignore its racially inscribed subjects, but does find a way to refocus attention on those who might otherwise go ‘unseen.’.
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