Patricio Guzmán’s Chile, Obstinate Memory examines the generational impact of history and trauma while pondering the fragile nature of memory and experience. In his return to Chile following his exile after the coup, Guzmán finds himself in a country still timid to acknowledge the horrors they experienced during the dictatorship of Pinochet. The film’s editing was very impactful to me, particularly the dissolves between images from 1997 and 1973. The translucent images wordlessly create a dialogue between the past and present and creates a striking visual of recollection. We see the middle-aged soldier reflecting on his time in 1997 simultaneously with an image of him as a young man standing by Allende. His subjects range from aging revolutionaries attempting to recollect what they were not allowed to speak of to young students with no memory of such recent history. These varying perspectives offer not a complete narrative, but the possibility for them to create their own. These subjects tell the same events with drastically different experiences and feelings towards them, but all lead to the same question: with all these memories, what do we take with us as we move forward? Rather than seek to completely answer this question, Guzmán instead urges the public towards acknowledgement of the past as a first step to coming to a collective understanding and narrative for their past.