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. Gonzalo's family is standing on shaky ground these days; his mother (Aline Küppenheim) is having an affair, and his father (Francisco Reyes) finds himself at odds with her increasingly right-wing political views. Pedro Machuca (Ariel Mateluna) is one of the new students, and while he and his fellows are picked on by the school's bullies, Pedro is a brave kid who stands his ground, and he's soon befriended by Gonzalo Infante (Matías Quer), whose rich parents live in Santiago's wealthy suburbs. Gonzalo é um garoto branco e rico que estuda em um colégio particular de Santiago. I will perpetually applaud not only the bravery involved in the delivery of these controversial, anti-political celluloid manifestos whenever they are made, but also the commitment behind these projects such that the national film industry of the country being considered is put on the map. 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. As the class tensions increase, the friends get into a fight and are driven apart. 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. Pedro Machuca (Ariel Mateluna) is one of the new students, and while he and his fellows are picked on by the school's bullies, Pedro is a brave kid who stands his ground, and he's soon befriended by Gonzalo Infante (Matías Quer), whose rich parents live in Santiago's wealthy suburbs. John King, Magical Reels: A History of Cinema in Latin America, London, Verso, 2000. He returns to his family's new home, which is now even more opulent thanks to his mother's lover and the new redistribution of wealth under the new government. Screen Reader Users: To optimize your experience with your screen reading software, please use our Flixster.com website, which has the same tickets as our Fandango.com and MovieTickets.com websites. 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. Surprisingly sad, may or may not have cried on the zoom call, when pedro machuca turns around, looks at the blonde bully kid’s dick and goes “” i c o n i c, Wood ahora trabaja para Iñarritu, quien lo diría, Um filme que deveria ser visto por toda a América-Latina. Cinematographer: Miguel Ioann Littin Menz. When you buy 3 specially marked General Mills items at Target between 8/29-10/3. Youthful innocence sacrificed on the altar of politics, Machuca in the Philadelphia Film Festival, "Chilean movie recalls U.S. priest's presence amid turbulence of coup", https://en.wikipedia.org/w/index.php?title=Machuca&oldid=961389732, Films about Latin American military dictatorships, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 8 June 2020, at 05:50. 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. The wealthy parents of the students at St. Patrick's school are divided on the issue of the new poor students.
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