| Popis: |
After the 1973 coup d’État, Chilean cinema quickly retook its activity from abroad. Two key films were then produced, pioneer manifestations of exile cinema: Dialogue of the exiled (Raoul Ruiz, 1974) and There’s no forgetting (Mallet, Fajardo & González 1975). The present article seeks to bring into dialogue these two works through the prism of a shared feature: the description of the everyday banalities of life in exile. Drawing freely on Henri Bergson’s notion of absence, and critically engaging with Said’s, Didi-Huberman’s and Traverso’s reflections on the experience of exile, the text will explain why, in times of a radical adversity, Chilean cinema sought shelter in a “poetics of the everyday”, apparently stranger to any direct political agenda. Some sequences will then be analyzed to show how these films succeed to signify exile without conceding to a paralyzing melancholy or to a categorical political statement. |
