I make cinematographic films because it is my profession and I learned to do so in my youth when I was studying ; then comes experience , time , years and style and one ’ s personal life .
The other issue is the difference between a documentary and other films . For a good film that difference is not that significant , first it has to be good so that it gives something to the viewer that touches and interests them . Then there are many differences , in the crew size , in the writing style , in the openness of the script and / or the set . There is also the fact that there are no actors , they are reallife characters who want to be involved , and then the budget is much smaller .
4 . The world of television platforms has borne a major impact on film development , both in terms of production and distribution . What influence can these platforms have on the evolution of arthouse documentary filmmaking ?
PG : Well , it is a very topical and far-reaching issue . First you realise that it poses a threat to the cinema that we all used to frequent to watch a film on a proper big screen and enjoy it . The protracted Covid period has shown that people watched everything at home or on their computers because the cinema was no longer in operation . New film-watching habits came to the fore . Today , here in France at least , people are tending to revert to the cinema , precisely because it is not the same and that culture cannot be replaced by a “ click ”. Production and distribution , which have always been difficult for documentaries , remain a real concern , and new financing , production and distribution methods have emerged .
The Silent World by Jacques Yves Cousteau and Louis Malle , Night and Fog by Alain Resnais , Las Callampas by Rafael Sánchez , European Nights by Alessandro Blasetti , My Struggle by Erwin Leiser , and To Die in Madrid by Frédéric Rossif .
Today in each country , there is a group of some 20 top documentary filmmakers whose cinematic language is outstanding . But if I were to name just a few , it would be unfair to all the others .
6 . In My Imaginary Country ( 2022 ) you address the state of affairs in Chile from the revolts and social unrest of 2019 to Gabriel Boric ’ s victory in the 2021 elections . What role has the memory of 1973 played in the demands made by the social movements that led the uprisings ?
PG : In my opinion , there is almost no connection between them , apart from the fact that cultural aspects such as slogans , songs and music as cultural heritage are repeated . As far as I can see , the demands have been echoed for decades , even beyond Chile , for a more decent and fairer life . What was unexpected was the “ explosion ” effect .
7 . After the draft of the new Chilean constitution was rejected in the 2022 referendum , what are the future prospects you see for your country ?
PG : It ’ s hard to answer from where I am and even in the country it ’ s hard to answer . We will have to wait and see . I am much more of a filmmaker than a politician ; I ’ ve filmed these events with enthusiasm and hope , like many Chileans of my own generation and others .
5 . Who were your main influences in documentary filmmaking ? Which current documentary films and filmmakers catch your eye the most and why ?
8 . What influence has Pinochetism exerted on Chile ’ s current right-wing ? How useful can the politics of democratic memory be in curbing the ultra-right ?
PG : Your question is the makings of a book . The first films that moved me when I was 17 years old and that I saw in Chile were films like Mondo Cane by Gualtiero Jacopetti , The Living Desert by Walt Disney ,
PG : Well , I am not an expert in socio-political matters . Nowadays it seems that the Chilean right wing is acting as if it had won for another thirty years . I think that is far from guaranteed .
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Observing Memories Issue 7