It's been two weeks since the Chilean film Santiago 73, Post Mortem was released in French cinemas. I guess he will not stay very long in theaters. Yet it is a very special film, original and deeply disturbing that I could recommend you too. Located in Santiago de Chile in 1973, the plot takes place against the background of the coup against Salvador Allende. Mario (the terrifying Alfredo Costa ) is a small, taciturn officer, whose dark and is suspected to feel worse formalin or bleach. He works in a morgue as scribe of the coroner, he spends his days in hand to review the autopsy reports conscientiously and to retype it in the evening at the machine. Mario is in love with her neighbor Nancy ( Antonia Zegers), a cabaret dancer in decline, his chest falls and scares her thinness. That evening, she sympathizes with the coconuts on the corner by holding meetings in his room dissent.
In Santiago 73, Post Mortem , Pablo Larrain young Chilean director, already noted for his previous film, T ony Manero , will transform the immensely painful history of his country and the bloody coup State orchestrated by Pinochet against Allende. He will immortalize frozen into a painting of terror where blue hues of the mortuary and its corridors littered with bodies will marry in a maelstrom morbid with the colors green lanes in the suburbs where Mario lives. Suburbs devastated ghost town where the hunt for communists turned into a genocide organized the protest. To give this shade so particular to the screen, Larrain has not hesitated to use the objectives of the Russian era. Off-field or fixed plan naturalistic staging of Larrain is a work of craftsmanship, a slow building of horror, as in viral transmission, will perniciously stifle and destroy the humanity of Mario. He, the worker who pulls carts lifeless bodies cooled to room of the hospital. He, the quiet man who cleared and finds the strength to say to a depressed and Nancy's stinking smell of alcohol it is the most beautiful thing he's ever seen.
The most amazing in Santiago 73, Post Mortem , this achievement is subtle, almost burlesque is always waiting for the viewer and his intuition in the rear. It serves a scenario that uses powerful intelligence metaphor-cons as a weapon of propaganda. The desire for love with his neighbor Mario is indeed the metaphor of this country who wants to conquer a socialist ideal, desire is caught in the teeth of a violent junta's bloody power. And through the character of Mario, played wonderfully by Alfredo Costa, incapable of being loved, handled by his object of desire (you must see this handjob scene in a hurry when the body of Mario saw back bends under the weight of humiliation can be issued without any resistance), will become like his power, a vehicle for violence. A man who will seal the memories of the past under tons detritus.
Released in Belgium: 16/03/2010
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