Everything that has a beginning has an end

Posts tagged “patricio guzman

The Pearl Button – Now Streaming

 

Patricio Guzman’s remarkable film recently had its premier in the UK and is now streaming online in the US via Netflix and Fandor.

“If “water has its own language,” as anthropologist Claudio Mercado says, so too does Guzmán as a filmmaker. His work speaks to the past and present, the living and the dead with equal resolve, lingering on the seemingly small details of memory that allude to so much more.”  – Glenn Heath Jr

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The Pearl Button

 

“After the acclaimed Nostalgia for the Light (2010), with its study of the desert, the stars, light and time, as well as the recent memory and remains of disappeared people in North Chile under Pinochet, Patricio Guzmán takes us on a journey into the water and ocean of Southern Chile.”

In anticipation of its October 2015 release, a few brief excerpts of ‘The Pearl Button’ have been released.

 

“The sea holds all the voices of the earth and those that come from outer space. Water receives impetus from the stars and transmits it to living creatures. Water, the longest border in Chile, also holds the secret of two mysterious buttons which were found on its ocean floor.”

“Chile, with its 2,670 miles of coastline and the largest archipelago in the world, presents a supernatural landscape. In it are volcanoes, mountains and glaciers. In it are the voices of the Patagonian Indigenous people and their tragic history, the first English sailors and also those of its political prisoners.”

 “Some say that water has memory. This film gives it a voice”

“Using both archival images and gorgeous new footage, The Pearl Button manages once again to convey different periods of history and geography in a gripping tale of our modern world.”


The Pearl Button

“In order to talk about profound tragedies, genocide that takes place, looking at Palestine or Syria, talking about Chile or Argentina indeed for that matter, it’s very important to use metaphor because metaphor is very expressive, very evocative. We’ve seen images of mass graves, we’ve seen images of the Nazi concentration camps and that has been with us for quite a while already. Nowadays we still need to talk abut these events, but it is perhaps best explained in an indirect way using the language of poetry. I think it is indispensable, in a way, to seek out that language when talking about these phenomena because it is also important to speak about pain and this is a very effective way to do it.”

Patricio Guzman

 

Embedded in the image above is a brief clip of Patricio Guzman’s ‘The Pearl Button’, a companion to his 2010 film ‘Nostalgia for the Light‘. Yesterday he won best screenplay for his film at the Berlin International Film Festival, which is very unusual for a documentary to win such an award. I would expect this to arrive in cinemas before the years end.

Guzman is a poet who in assembling his films creates connections using metaphor to complement historical and scientific evidence that along with his compelling images makes for a powerful and resonant experience. His previous film drew connections between the stars seen through powerful telescopes in the Chilean desert, to the (star) dust floating in our air, to the dust of the ‘disappeared’ from Pinochet’s terror whose remains became part of that same desert – all interwoven in a meditation on memory.

 

 

I think that life is memory, everything is memory. There is no present time and everything in life is remembering. I think memory encompasses all life, and all the mind. I’m not simply me—I’m my father and all that came before me, who are millions. Nostalgia for the Light sprung from this concept. It involves body and soul but also matter, the earth, the cosmos, all combined.

But there’s a constant contradiction between memory and history. It’s a conflict. The official Chilean historical record in regard to the 1973 coup d’état is a disaster. For nearly forty years now there has been denial of memory (like there was in Spain too after Franco’s death).”

Patricio Guzman

 

 ‘The Pearl Button’

‘The Pearl Button’ revolves not around the theme of dust but of water – around the idea that comets first brought water to this planet, that Chile’s largest border is ocean, that only 20 people remain from five indigenous tribes who lived on the coast that were decimated by colonial invaders. This same ocean is where the Pinochet regime dumped over a thousand bodies of people who were declared enemies of the state. Guzman continues his meditation on the idea of memory suggesting that water has a memory. It remembers those who perished in it. It and we are seeded from the stars just as we are made of stardust, he reminds us that our bodies are also mostly water. This film is also a meditation on how not only Chile but our modern civilization has lost its connection to the intrinsic value of our world, to its people and to its surroundings. If water has a memory then it is also a witness to our sorrowful history, whether we choose to remember it or not.

 

(references to 2 film reviews from the Berlin festival used for this post are here and here)

September 11

 

For his new film master director Patricio Guzmán, famed for his political documentaries (THE BATTLE OF CHILE, THE PINOCHET CASE), travels 10,000 feet above sea level to the driest place on earth, the Atacama Desert, where atop the mountains astronomers from all over the world gather to observe the stars. The sky is so translucent that it allows them to see right to the boundaries of the universe.

The Atacama is also a place where the harsh heat of the sun keeps human remains intact: those of Pre-Columbian mummies; 19th century explorers and miners; and the remains of political prisoners, “disappeared” by the Chilean army after the military coup of September, 1973.

film still

So while astronomers examine the most distant and oldest galaxies, at the foot of the mountains, women, surviving relatives of the disappeared whose bodies were dumped here, search, even after twenty-five years, for the remains of their loved ones, to reclaim their families’ histories.

Melding the celestial quest of the astronomers and the earthly one of the women, NOSTALGIA FOR THE LIGHT is a gorgeous, moving, and deeply personal odyssey.

“NOSTALGIA FOR THE LIGHT is not only Guzmán’s masterpiece; it is one of the most beautiful cinematographic efforts we have seen for a long time. Its complex canvas is woven with the greatest simplicity. For forty years, Patricio Guzman has had to struggle every inch of the way, with a vivid memory and intimate suffering to reach this work of cosmic serenity, of luminous intelligence, with a sensitivity that could melt stone. At such a level, the film becomes more than a film. An insane accolade to mankind, a stellar song for the dead, a life lesson. Silence and respect.” —Jacques Mandelbaum, Le Monde

film still

“Stunningly beautiful. I don’t know how you can put more into a film, or make one that’s more deeply moving.” —Stuart Klawans, The Nation

“An extraordinary film about the unknown and the unknowable.” —Sight & Sound Magazine

“An amazing film! Nostalgia for the Light gave me goosebumps so many times I lost count.” —Andy “Copernicus” Howell, Ain’t It Cool News

“Deeply Affecting!” Critics Pick —New York Magazine

“Such a moving masterpiece… NOSTALGIA FOR THE LIGHT is Guzmán’s leap into a different sort of cinema: a philosophical treatise that is as stunning to the eye as it is disturbing to the brain… I was enthralled. So was the audience around me.” —B. Ruby Rich, SF360

★★★★ “NOSTALGIA FOR THE LIGHT may just be the most profound movie I have ever seen.” —Peter Howell, Toronto Star

★★★★ “The ideas in NOSTALGIA FOR THE LIGHT are nearly as big as the Big Bang, but Guzmán’s wise and lovely film maintains a careful balance between matters both macro and micro.” —Jason Anderson, Eye Weekly

“The film is gorgeous, purposefully slow, almost a meditation. Guzmán tells us life in the Atacama Desert is an eternal book of memories. And he lingers on every page, capturing shots of constellations with the care of a master photographer. Imagine Ansel Adams, working in colour, let loose in the Milky Way.” —Stephen Cole, The Globe and Mail

★★★1/2 “Combining politics and science in a stirring visual essay… Highly Recommended” —Video Librarian

Winner, Award of Merit in Film, 2012 Latin American Studies Association (LASA) Official Selection, 2012 Western Psychological Association Film Festival Winner, Best Film, 2011 International Documentary Association (IDA) Winner Best Documentary, Prix ARTE, 2010 European Film Academy Awards Winner Best Documentary, 2010 Abu Dhabi Film Festival Official Selection, 2010 Cannes Film Festival Official Selection, 2010 Toronto International Film Festival Official Selection, 2011 San Francisco International Film Festival Official Selection, 2011 Miami International Film Festival Official Selection, 2010 Melbourne International Film Festival