Pablo Larrine
Pablo Larrion, Chile's "national treasure" director, was shortlisted for the main competition section of the 76th Venice Film Festival, and "Irma" is a queer film directed by South American directors about the family, adoption, and the fate of the fall apart. The colors of the images are brilliant and bold, conveying the characters and narrative tension. This isn't the first time he's touched on queer images, as producer of "Ordinary Woman" in 2017, which won the 90th Academy Awards for Best Foreign Language Film, is about the plight of a small number of people in today's society and has caused a lot of resonance.
Irma
Pablo's film is like a pair of eyes that reflect society, the entry point is accurately placed in the realist work, and the objective analysis and metaphorical symbols will resonate. In 2012, he directed the political theme film "Chile Say No" (which constituted the Pinochet trilogy with the previous film "Killer Night Fever" and "Aftermath") and was nominated for the 85th Academy Awards for Best Foreign Language Film, which is also the first Chilean work to be nominated for the Oscar for Best Foreign Language Film; the Catholic-themed film "Priest Club" won the Jury Prize at the 65th Berlin Film Festival in 2015 and was nominated for Best Foreign Language Film at the 73rd Golden Globe Awards; and the 2016 Pablo Neruda biopic "Pablo Neruda". The Hunt for Neruda and Jacqueline Kennedy's biopic First Lady were both well received, with the latter selected for the main competition at the 73rd Venice Film Festival.
The First Lady
The new film "Irma" will reflect the current situation of the dancer group, in Pablo's view, dance is not only an art, but a medium, reflecting the poetic expression of the traces of the city.
Chile Says No: Advertising to Death
It's a film about the medium changing politics, ending a 17-year dictatorship in a 1988 referendum in Chile where Pinochet's government was unexpectedly defeated by opposition televised propaganda programs. The film recreates the whole process of the two sides fighting a televised propaganda war during the referendum campaign, and presents the role of political communication through linear narrative.
"Chile Says No"
Several nodes of the film emphasize the analysis and control of citizens' pain points by media people: first, to win the election, the most important people awaken the masses who dare not speak out, that is, the silent majority. In communication science, people call the "silent spiral" at the beginning of the election campaign, citizens abstained from voting as high as 78.6%, the deterrent power of the dictatorship hindered the public interest, suppressed the willingness of citizens to exercise political rights, what ads the media needed to use for political persuasion, how to understand what the people really needed, and how to win the referendum were closely related to political slogans and propaganda.
The creators rejected the film, which complained about the dictatorial tyranny of Pinochet's junta, and instead made a propaganda film with the theme of "happiness" to overwhelm the other side. The content of the shooting also borrowed from the popular forms in the mass media: for example, designing advertising songs, inviting the "internet celebrities" and "fresh meat" of the year to perform; and designing the plot of the promotional film according to the content of the most popular "soap opera" and Hollywood blockbusters at that time, while letting the actors appear on the screen in the shape of Bond and sexy beauty.
Neil Bozeman once proposed in the book "Entertainment to Death" that the government's printing rule was transformed into television domination, which would lead to the gradual transformation of public discourse from rationality, order and logic to a phenomenon that was out of context, superficial and fragmented, and all public discourse appeared in the form of entertainment, and finally, the Chilean opposition government won the election with a 28-day propaganda film, winning a bloodless "media battle".
The film recreates a triumph of political communication in a pseudo-documentary manner, while handheld lenses and retro filters also achieve a simulated "sense of traversal". The 4:3 film scale recreates the texture of the TV commercials of the 1980s, while interspersing historical images with reality, enhancing the authenticity of the film. What is defiant is that the image of the opposition elite is stereotyped, the opponent drama passes by, and the whole film does not have the wonderful contest of the election fierce battle.