Anál-isis callejero

International name: Street Anal-ysis

Formato: HD color · Duración: 9 min · 2012

SINOPSIS / SYNOPSIS

Dos lugares diferentes: Valparaíso y Aysén, distanciados por sólo un año. El valor de la rebelión. Deconstrucción del filmar la violencia sea policial o ciudadana. Textos más imágenes, reciclaje. Yo contra el otro.

Two different locations: Valparaíso and Aysén, spaced by only a year. The value of the rebellion. Deconstruction of filming violence even if it is made by police or citizen. Texts plus images, recycling. Me against the other.

NOTA DE INTENCIÓN / STATEMENT

2012 fue un año movido, al igual o más que 2011. Las protestas surgían en todo Chile por diversas razones. Finalmente el silencio autocensurado de la gente empezaba a romperse, finalmente sacaban la voz. Cuando el director Guarisapo volvió de Aysén con el material que había realizado de las protestas allá, me compartió parte del material y a través de la usual mezcla de referentes, archivos y sonidos, compuse otra obra sobre protestas. Aunque buscando que fuera mucho más sugerente que otras de ese tipo. Por lo tanto, regrabé mis cintas DV de las protestas del 21 de mayo de 2011 en Valparaíso a través de un televisor, para así obtener otras texturas, mezclándolas con los archivos de protestas de Aysén, utilizando diversas citas de escritores chilenos y extranjeros, utilizando el rojo para los textos en pantalla y una serie de sonidos que no dejarían a nadie indiferente, con la finalidad de poder generar un corpus que fuera generando la idea de un nuevo momento en la historia de Chile.

2012 was a year very moved, the same or more than 2011. The protests arose throughout Chile for various reasons. Finally the self-censored silence of the people began to break, finally they got the word out. When the director Guarisapo returned from Aysén with the material he had made of the protests there, he shared part of the material and through the usual mixture of referents, files and sounds, I composed another work about protests. Although looking for it to be much more suggestive than others of that type. Therefore, I re-recorded my DV tapes of the protests on May 21, 2011 in Valparaíso through a television, in order to obtain other textures, mixing them with the protests archives of Aysén, using different quotes of Chilean and foreign writers, using the red for the texts on screen and a series of sounds that would not leave anyone indifferent, in order to generate a corpus that was generating the idea of a new moment in the history of Chile.

FICHA

Realización: Pablo Molina Guerrero

Asistencia: Mario González Contreras

Cámara: Guarisapo, Pablo Molina Guerrero

Archivos: Un 21 de mayo particular (2011, Pablo Molina Guerrero) / Con legítima razón (2012, Guarisapo) / Freesound.org / Alguna película pornográfica

Citas: Friedrich Nietzsche / Albert Camus / José Domingo Gómez Rojas / Manuel Rojas / José Santos González Vera

Música: Symphony No. 5 in E minor, Op. 64 - Pyotr Ilyich Tchaikovsky

CRITICS

Filmint, David Finkelstein (USA) 2017

"In Anál-isis Callejero (Street Anal-ysis), Chilean filmmaker Pablo Molina Guerrero’s nine minute meditation on political violence, we see a complex montage of footage from clashes between police and demonstrators in Valparaiso and Aysén. The digital video is deliberately mixed with all manner of glitches and editing artifacts, and is continually disrupted by freeze frames. The soundtrack mixes sync sound from the protests with audio from a porn film, a mother giving birth, and syrupy Tchaikovsky music. The footage is annotated by superimposed titles in red type, quotes from a variety of Chilean writers on political ethics. In one quote, Manuel Rojas refers to a man who claims he “doesn’t have enough moral discipline” to deserve the title of “anarchist.”

There is a lot of violence in the footage: police spray the crowds with water, and lob tear gas canisters. The protesters get their butts kicked, which might give one clue to the film’s title. The protesters, too, can be seen occasionally throwing rocks at the police. Fires burn in the road.

The film contrasts the footage from Aysén in 2012, in which widespread violence caused many injuries, and the 2015 protests in Valparaiso in which the demonstrators remained relatively peaceful. When activists turn to violence, do they lack the proper “moral discipline?” They will certainly be portrayed that way in the media. Is footage of political violence merely political porn, inflaming passions of rebellion or scorn, depending on the politics of the viewer?

The video ends with a shot of two demonstrators, a man and a woman, looking tenderly at each other. Both wear gas masks. We hear the sound of a baby crying. The word “paranoia” flashes on the screen. Earlier, poet José Santos González Vera is quoted as saying that the most beautiful landscape is “my friend.” An environment of armed rebellion is rife with creative potential, as well as being a perfect breeding ground for mistrust. Guerrero’s “anal-ysis” tears apart multiple strands tangled within the questions of violence as a tactic, without preaching facile conclusions."

EXHIBICIONES COLECTIVAS

Bienal de Artes Mediales, Concurso Juan Downey, Museo Nacional de Bellas Artes, Santiago. Chile 2013

______________________________________________Galería Concreta, Matucana 100, Estación Central. Chile 2013

Videolab, Programa "Liberdade", Coimbra. Portugal 2015

Flux Factory, Programa "Cosmic Unity", Nueva York. EEUU 2017

Aura Arte Contemporânea, Programa "Happy Aura", Sao Paulo. Brasil 2018

PROYECCIONES

Resistencia Film Fest, Selección Oficial, Tomé. Chile 2013

Festival de Cinema Anarquista de Barcelona, Selección Oficial. España 2013

UDLAFESTOC, Festival Online de Cine, Selección Oficial. Chile 2013

FESANCOR, Festival Internacional de Cortometraje de Santiago, Selección Oficial. Chile 2013

ARQFILMFEST, Arquitectura Film Festival Santiago, Selección Oficial. Chile 2013