Chilean writer-actor-director Bernardo Cuseni does not have all the answers. If he does, he says, he won’t make the film. “If someone is very clear about what they mean or what they mean,” he said. Diversity, “They should write an article, not a script.”
Quisney’s third feature, “History and Geography”, is being screened at the Works in Progress sidebar at this year’s Guadalajara Film Festival. It tells the story of Gioconda Martinez, an elderly actor from a well-known drama family, who is trying to shake off the comedic image that became attached to him while starring in a highly successful TV series. Now, he wants to take it seriously. He returned to his hometown to stage a play about Mapuche, an aboriginal man who had been persecuted not only by Spanish conquerors but also by modern Chileans. To his frustration, he quickly discovers that his turn as a TV star did not make him as popular with the public as he thought.
Before the start of this year’s Guadalajara Film Festival, Cuseni made it clear Diversity What is described above is simply a plot of “Historia y Geographia”. There is much more going on in the film.
Did you base the main character Giocondo Martinez on a real person? Is he someone you know?
When “A Fantastic Woman” won the Oscar for Best Non-English Language Film in 2011, a Chilean comedian, a man in his mid-twenties, made a play called “Una Muzar Fantastica” in which he dressed as a woman and was completely ridiculed. Did the LGBTQ movement. At first, I couldn’t believe it, but I tried to figure out exactly what to do.
Was it an attempt at humor that fell out of fashion? Is it possible that someone is so isolated from the world around him? And what exactly were we laughing at?
I’ve spent many years with actors and actresses, and they all seem to be living in a very fragile world filled with emotional and economic insecurity and instability. From the time they entered drama school, they lived in a storm of personal dissatisfaction that lasted their entire lives.
It’s all about them, their decisions, their social networks, their fear of disappearing and not knowing who they are. The idea behind the film was to embrace these fears and incorporate them into a character that really wants to change.
The protagonist’s reaction to the Haitians in the film is confusing and contradictory. Is it a reflection of Chilean society? Haitians in the map of the modern era?
Although there has been a social explosion that has cemented the foundation for enabling a new conception of our identity, most of this time Chile, a country at the bottom of Latin America, has been in an identity crisis.
For a long time, Mapuche was synonymous with ridicule and their suffering was considered something in the past. What I am saying is nothing new. But to fully understand it, you need to apply it not only to the reality of Mapuche, but also to the reality of Chile and who we are to distort it.
In the film, the protagonist makes a contradictory comparison and takes the term “cultural application” to the extreme. But the idea is not to make fun of her, though in general, an actress on the edge of Gioconda. And at some point, his comparison, though fundamental, brings together two worlds that are otherwise separated. When Don Francisco didn’t do this on his “Sabado Gigante” program, did he ridicule the people who were arrested and then disappeared?
In the end, I think Geocander’s argument will always be tied to his past on television, critics and capitalists.
“God gives bread to those who don’t have teeth” is a line that is repeated throughout the film. Do you know where it came from and why you use it as a deterrent?
“God gives bread to those who don’t have teeth” is the central idea of the movie and our hero. A Chilean translation could be “está mal repartido el chancho” or “the pig is poorly distributed.” When the protagonist of a sitcom says that all the time, it is talking about an era, towards a humor that reflects dictatorship and Catholicism. It expresses an acceptance that has touched you and that’s okay. It’s a sense of humor.
Until recently, the comedy we saw on TV was ridiculing homosexuals, the poor, and even dwarfs. I’m not talking years ago, I’m talking very recently. It’s changing and I like it. But our hero is located on a hinge. He recounts his heritage and what is changing in Chile.
This is your third feature. Can you explain how / if the three movies are related to each other and how they differ?
I think all three films are represented in different ways. The representations in “Efectos Especiales” and “Historia y Geografia” are more obvious because we talk about the themes and put them on stage, albeit in the wrong way. In “Desastres Naturales”, the idea is to represent the student movement within 70 minutes. And in those 70 minutes we got to see every aspect of the organization of those years.
In all three films, the main character is lost and the opposite of what they are looking for is who they really are. But this time, I wanted to give it a spin and question other things. Accepting yourself in movies is usually seen as something positive. Could it really be something negative? Is disconnection really something bad or will it be judged? Is it possible that, in the end, our narrative and the logic of our script become moralistic? The least I want to do is teach or lecture.
I feel that cinema should be completely away from preaching. I understand the power of discussion, but I like the game of telephone where we say something that then goes from person to person until it comes back to us completely differently.
This is how I see the decoding of the discourse.
In addition, if someone is very clear about what they mean or mean, they should write an essay, not a script.