"El cristo ciego" y "Propaganda", películas que cuestionan el poder - Conversemos desde el Ficci 57 - Vídeo Dailymotion

El Espectador

Christopher Murray está presentando la película "El cristo ciego" en el Ficci 2017. El director chileno habló sobre el origen de los mitos religiosos y la relación entre el cine y la democracia moderna.  Para mayor información ingresa a http://www.elespectador.com/  Sigue a El Espectador en Redes Sociales YouTube: https://goo.gl/jLpssG Twitter: https://twitter.com/elespectador @elespectador Facebook: https://www.facebook.com/elespectadorcom Instagram: https://www.instagram.com/elespectador Google+: https://goo.gl/HhJOSA  Otros Canales de El Espectador La Pulla: https://www.youtube.com/c/LaPulla Suscribirse Claro Oscuro: https://goo.gl/cqBNJe Suscribirse Colombia 2020: https://goo.gl/Gs3U86 Suscribirse  Nuestra red de canales El Espectador: https://goo.gl/YtSr28 Suscribirse Noticias Caracol: https://goo.gl/oaAkxa Suscribirse Blu Radio: https://goo.gl/OrmS44 Suscribirse Caracol Next: https://goo.gl/5NRoAH Suscribirse Caracol Televisión: https://goo.gl/xXqv7e Suscribirse  Gol Caracol: https://goo.gl/6W8Xh8 Suscribirse Cromos: https://goo.gl/NS88ph Suscribirse Shock: https://goo.gl/Qq7XPQ Suscribirse

Transcript

00:05Good evening, we are in the section Conversemos

00:08in the Cartagena Festival with the director chileno Christopher Murray

00:12Welcome, thank you for being with us on El Espectador

00:16Thank you for the invitation

00:17We are presenting a film called El Cristo Ciego

00:20which leads us to a very important topic

00:24You said in a documentary about the birth of the religious myth

00:30or something like that

00:31how does that birth of the religious myth

00:35according to you?

00:38Well, the movie has components of the documentary

00:40but I don't think it's a documentary

00:45and I think for me it's a question

00:48about how we fill the void

00:52how we build the meaning

00:55and I don't think it's a question

00:57in terms of a theory

01:00but it's like asking

01:05that these little myths

01:06are not imposed

01:08but are something that emerges naturally

01:10through the everyday life of people

01:12and through their own personal experiences

01:16and that's what I think

01:17is what the movie is developing

01:20and working on throughout this story

01:24How did these doubts arise in you personally?

01:28I mean, the religious doubts

01:30that are so important in Latin America

01:34and in the world, right?

01:36Well, I think it's difficult

01:39in a certain sense

01:40to be outside of that topic

01:44and it's true that Latin America

01:46is something that one can palpare

01:49in Chile

01:50in an 85%

01:52or 80%

01:53in a country that becomes a believer

01:55and even if one is not a believer

01:56it's also a way to be relacion

01:58with the topic

01:58it's not a topic that can't escape

02:00and on the contrary

02:01I think it's a topic

02:01that by being transversal

02:03it's extremely interesting

02:03to be wondering

02:04in its differences

02:05what is what is manifest

02:07what is what is expressing

02:08and what types of transformations

02:10it is experiencing

02:11because it's something dynamic

02:12not something that is fixed

02:13something that is constantly

02:13and I don't know

02:15I think it's fascinating

02:16because it's a mystery

02:17because it's something

02:19that one can't give

02:22as a totally closed answer

02:27and the contrary

02:28it's an open question

02:29and therefore

02:30it's natural

02:31that an art like the cinema

02:32that can't be

02:33and that the people

02:34and contribute

02:36to believe

02:38let me tell a story

02:43there is a child

02:44there is a child

02:45that went to the desert

02:45with his best friend

02:48the dude put the hand on the way

02:50and told him to the friend

02:51that he clavoured

02:53and suddenly the child

02:54felt something

02:56the sacrifice

02:56and the pain

02:58of his hands

02:58They called the attention of God, and God opened that fire.

03:02He realized that God was not outside, he was inside.

03:04That if he understood that, he could be a Christ.

03:08The title of the film is The Christ is Ciego, right?

03:12No.

03:13The Christ is Ciego.

03:16Where is the title?

03:19Why is that title?

03:20How did it happen?

03:21Or who did it happen?

03:27The title...

03:28I think it happens to me.

03:35Basically, it plays with the idea of the Christ that always is...

03:41that has clear his path, that always is looking at,

03:43that has the ability to look at what others do,

03:46and in a certain sense, to build a negation to that.

03:50To build a person who loses, who loses, who loses, who doubts, who doesn't know, who doesn't know, who doesn't

03:57know, who doesn't know.

03:58And that confusion was beautiful.

04:01It was my first idea.

04:02So I decided to keep it in mind,

04:08in doute,

04:13I don't know,

04:14and feel the person who uses other government.

04:14So what I think that's the amount of Dwight does is…

04:29What does it mean?

04:31It's not an official topic, right?

04:35Where do you go?

04:37What repercussions have you had for these topics?

04:42Propaganda is a movie about political myths.

04:48First, a collective movie,

04:50a movie that was made with other directors.

04:52I was the director of the project, in a certain sense.

04:53And yes, I think it's also a movie that, in a certain sense,

04:59talks about the construction of the political image,

05:02the construction of the campaigns

05:04and, in a certain way, the construction of the message

05:08from the political official to the citizens,

05:15in moments of tension and crisis of representation

05:17and low approval of the political class,

05:20in a context of elections.

05:22So, yes, I think that a collective project,

05:26if one had to compare it to this,

05:28which is a totally individual project,

05:30at least from the direction,

05:31because there are a lot of people involved,

05:33I think both talk about how to build a myth,

05:36how to build a image.

05:38So, the question is about the construction,

05:39what is, in a certain sense, the artesanity

05:42of how that is the final result

05:43and what talks about us, how to build.

05:47I think that we are what we build,

05:49we are what we do.

05:49So, the question about what we do,

05:52more than the result,

05:53sometimes it's the question,

05:54or at least that I think it's a good suggestion.

06:06So, I want to ask you the vote,

06:07thank you very much.

06:09Thank you very much.

06:39Yeah.

06:39I think it's not only in Chile, but in other places where we have seen the movie dialogue with local

06:45realities and local elections.

06:47I think it's something quite transversal, like the contemporary democracy, the modern democracy, how it takes place in the elections.

06:55And I think what it does is a little pessimistic perspective, but there is also a...

07:04The counterpile to that also are the movements of the citizens, the people who express themselves, who speak,

07:09whether from the indignation or from the action, I think it's at least talking about a certain movement that confronts

07:17that system that actually looks like a system

07:20super-desgastable, a system that is quite questionable, and I believe it.

07:24I am a person who strongly believes in democracy, but in democracy in serious, in real democracy,

07:30democracy that, in a certain sense, they come coartated by economic power,

07:35they come pre-designed in terms of their messages to convince,

07:39more than an electorate or a consumer,

07:40of an image, of a country, more than a country.

07:45And what would be that democracy in serious?

07:48I think it would be a democracy that would be in serious,

07:50I think it would be in the redundancy, the participation.

07:54The participation free.

07:55You know, there is a legitimate participation and legitimate,

07:58in terms of real influence.

08:01In China, and in other parts, we realize how the economic system,

08:06finance and campaigns,

08:07how many times those interests are dialoging in Chile for a long time,

08:12well, even now,

08:12today, it is just a big scandal,

08:15but it is something that everyone knew,

08:16that the national policy was financed by a large group of economic groups,

08:19and, therefore, that that one felt that they were two separate powers,

08:23in a certain sense,

08:24they were more or less similar to what they were doing.

08:26With a electoral system that,

08:27that one could vote for one another,

08:29for the system,

08:30they always chose one of each band,

08:32so that the election would have to win before.

08:36And so, I think there are a lot of elements

08:38that have to do with the constitution,

08:39which is the constitution of Pinochet,

08:41which has changed,

08:43and there are many clues that, in a certain sense,

08:46I believe,

08:47I believe,

08:47that they have made the democracy in Chile

08:49to have a lot of left to advance.

08:51I know that it doesn't have to do with the cinema,

08:54but the constitution of Pinochet,

08:57why did it not change the constitution?

08:59Because, to change a constitution,

09:01we have to have a very high forum,

09:05and we have to say that,

09:07as much as the horror of it was,

09:10a lot of people who were there,

09:12particularly Jaime Guzmán,

09:13which was the brain behind the constitution,

09:16it was so intelligent to create a constitution

09:18that, to be changed,

09:20it would have been a forum so high,

09:23and a electoral system,

09:24so,

09:25between one side and the other,

09:27that it would have been impossible

09:28to exist for the forum to be changed.

09:29So, it's like a constitution with candado.

09:31They are pressed by the constitution.

09:33A little bit,

09:34it's a bit of that.

09:35And now,

09:36it's a process,

09:37to talk about,

09:38some groups propose

09:39a constitutional assembly,

09:40but it's still something

09:41that, in the final,

09:42it's still not a notion

09:44of a civil support

09:46and a massive support.

09:48And a lot of people,

09:48we have to be honest,

09:49they don't even know what is the constitution,

09:52and they worry about it.

09:52When one sees the list of interests,

09:56the people,

09:56the first one is the security,

09:57the second one is the health,

09:58education,

09:59and the number 15 in the constitution,

10:01because it is so abstract.

10:01The people are concerned

10:02about surviving day-to-day.

10:04So,

10:05wow,

10:05it's a very high,

10:07very abstract,

10:08and complex,

10:09and we are talking about a country like Chile,

10:11and Colombia,

10:12where the education civics

10:13was taken out of the schools,

10:14and now it's going to be again

10:15to instaurated.

10:16So,

10:17it's a long way to go ahead.

10:19One last question.

10:21A Neruda

10:22once they asked

10:23why the poesies served

10:25for the revolution,

10:26and they said

10:27that the only thing

10:28he could answer

10:29was that some of his poems

10:31were in the pocket

10:32of some great revolucionaries

10:33like the Czech.

10:34Do you think

10:34that with the cinema

10:35could happen something like that?

10:38Well,

10:39the question about

10:39the revolution today

10:40is kind of terrible.

10:42In the sense,

10:43what is the revolution today?

10:46What is the revolution today?

10:47What is the revolution

10:47contemporary?

10:48And it's a great question,

10:50because I think

10:50when you talk about the revolution,

10:51I imagine that

10:52it's the revolution

10:53of the...

10:53I imagine that

10:55it's the revolution

10:55of the left.

10:56That is a project

10:58that today

10:58we have to know

11:00to understand

11:02and to understand

11:02that we are in a moment

11:04of a great question

11:05about how in Causal

11:06in Latin America.

11:06In a moment

11:07where everything is changing.

11:10Where the political

11:11projects

11:11are being very dangerous.

11:13And I think

11:15that the cinema

11:16is a tool

11:17of opening

11:17and understanding

11:18and exchange.

11:19For me,

11:20I'm very pragmatic

11:21in that sense.

11:23For me,

11:23a movie,

11:24when it has a sense,

11:25as a cineast,

11:26it's when the movie

11:27is able to

11:28to open

11:29a space of reflection

11:31where it doesn't exist.

11:32Or to contribute

11:33to a space of reflection

11:34where it doesn't exist.

11:35So, I don't think

11:36that it has to do with

11:37to inspire

11:39or to give messages

11:39or to make

11:40propaganda of ideas.

11:41I think that that is

11:42too fixed for what

11:43is the image.

11:43It's something that is

11:44quite dynamic,

11:46more liquid,

11:47more open,

11:49and that,

11:49in general,

11:50has to do with

11:50experiences of meeting.

11:52In the case of my movie,

11:53when I work with people

11:54in a place,

11:55like a meeting

11:55between people

11:58who are co-creating

11:59something,

11:59and then that will be

12:01shared in a place

12:01like Colombia

12:03and that creates dialogue

12:05and influences,

12:06let's say,

12:07that I think

12:09are important

12:10and that sometimes

12:10give a dynamic

12:11to a reality

12:12that is rather

12:14more static

12:15than what they did.

12:16And that movement,

12:17I don't know,

12:19is fundamental

12:20both for cinema

12:21and for democracy.

12:23Well, Christopher,

12:24thank you for this time.

12:26Thank you very much.

"El cristo ciego" y "Propaganda", películas que cuestionan el poder - Conversemos desde el Ficci 57

Categoría

Transcripción

Comentarios

Recomendada