Patricio Guzmán’s Nostalgia de la Luz is a documentary that explores the intersection of science, memory, and political trauma of Chile. The Atacama Desert draws a powerful parallel between astronomers who search the skies for light from the past and the women who search the desert sands for the remains of loved ones disappeared during Pinochet’s dictatorship. I love how Guzmán presents the desert as both a literal and metaphorical archive—preserving ancient history, cosmic knowledge, and human suffering. The film discusses Chilean society’s willingness to look outward to the cosmos while refusing to confront its own violent past, highlighting the ethical importance of memory and the pursuit of truth. The film continues that question discussed in Chile, The Obstinate Memory, can Chile prosper without acknowledging its past. Guzman blends science, testimony, and personal reflection in this film and becomes an essay on history’s unresolved wounds and the enduring struggle for justice and remembrance.

Madison Reed

Madison Reed

I really enjoyed this film Guzmans style is thoughtful yet poetic. He focuses on a lot of themes throughout the film, hence the title, memory is a big one. The use of dissolves between Battle of Chile and Obstinate Memory show how much time has passed between Chile and its people. Guzman uses memory as a political act almost like resisting the state imposed amnesia. The shot of the balcony where Allende and his wife used to stand and wave, was now destroyed and forgotten, never rebuilt and Guzman does a time lapse between then and now. The film is a reminder that just because a regime falls doesn’t mean the history vanished. The use of younger Chileans and really focusing on their emotions as well as how angry they were about not being taught or told this history shows how people are trying to leave it in the past. The film also questions whether Chile can move forward without acknowledging its past, interviews with the people who were in Battle of Chile was very moving you can clearly see its very emotional and hard for people to think or talk about. The scene with the woman who lost basically her whole family was very touching and sad, especially when she said she didn’t know if that was her in the Battle of Chile, you can see there is still fear instilled in her from Battle of Chile days. Chile, Obstinate Memory was very great and powerful it urges viewers to face an uncomfortable truth and shows the importance of storytelling in preserving history.

I really enjoyed this film Guzmans work captured a historical record on how fragile democracy is in the face of corrupted governments. Guzmans use of cinema verte really immerses viewers in the action especially when the crew was going around asking locals which side they want to win the election. This approach made me feel more like I had a choice in choosing how I analyze the film and the lack of obvious bias in the film makes it more enjoyable to watch. The film isn’t over edited making it feel more like a documentary, informative and emotionally compelling. This film doesn’t shy away from showing the strikes, violence, and escalating rhetoric between the pro- and anti- Allende groups that contributed to the collapse of political discourse.

Glauber Rochas “Black God, White Devil” uses a lot of symbolism and allegory even the title itself shows the duality that runs through the entire narrative. Antonio Das Mortes character representing Black God because he is the embodiment of violence and vengeance but at the same time is a product of an oppressive system. The White devil refers to Sebastiao who leads the group of peasants promising salvation but he can also represent an oppressive figure. The dualism between “black” and “white” also refers to the tensions between social and political forces. I love that this film questions whether a rebel, the church, or the government can truly offer salvation or are they all repeating a cycle of exploitation and violence. Rocha’s film style is very noticeable in this film he isn’t afraid to be bold or expressive especially with how he frames the shots very unconventionally, the use of light and shadow also ties back into the title of the film. Rocha also challenges the idea of mythology and ideology and how both can be manipulated based on agendas being pushed.

The film Cat Skin was a great film I enjoyed how it shows real life struggles of Brazil during that time. The film shows how life is full of tough decisions, the boy selling the cat for a dollar, showing how little he makes for a big sacrifice: loss of innocence and childhood. The film also shows how to other side lives, the rich and wealthy having the luxury to own a cat for fun and the poor children have to steal cats just to get by. I also noticed at the end after the boy sells the cat he wipes his tears ultimately showing how the “have-nots” have to suck it up and keep pushing.

I also enjoyed Glauber Rochas film ” Di Cavalcanti” honoring his friends life after his passing, although it wasn’t ethically executed I did understand why Rocha followed through with the film. Especially when Cavalcanti’s family was not okay with Rocha filming the funeral or exposing the closed casket. Overall you can see through the chaotic fast imagery and manic like talking that Rocha does during the film, you can tell Rocha is hurt by his friends passing and is expressing that pain through his art.

Madison Reed

I really enjoyed how this film uses experimental filmmaking techniques while focusing on political and social issues in Brazil. These directors, Glauber Rocha, nelson Pereira dos santos and Carlos Diegues, embraced the real and rawness of Brazil. Almost a documentary like approach creating a sense of realism in the film, and doesn’t have a linear story telling. I feel like this style was heavily influenced by Brazils military dictatorship which inspired the filmmakers to find a new form of resistance against authority. It really brought me closer to the harsh realities of life in Brazil in 1960s. The establishing shots, the contrast used to show brazils landscape while also showing the struggles of Brazilian people gave the film space and scale. Cinema Novo is known for “aesthetic of hunger” emphasizing deep poverty as well as inequalities faced by many. There’s also a lot of religious symbolism throughout the film. Overall this film breaks away from traditional Hollywood conventions and focuses on a more personal and politically charged form of cinema.

Madison Reed

This article discusses post-racial Cuba and how racial differences were supposedly no longer important, this is very problematic because it overlooks the real experiences of Afro-Cubans, especially those with darker skin. The romanticized images of the “mulatta” is depicted in films today and affects the representation of darker people. The film “De Cierto Manera” shows how the image of the “mulatta” is often pushed to the front seeming as if their struggles are more valid than for example the pro boxer Guillermo lost his whole career as a boxer after facing racial injustice, was only touched upon briefly. I enjoyed Marios development throughout the film he allowed Yolanda to be herself even if it bothered his machismo side.

The film opens with almost sort of propaganda as a reporter interview female workers at the sugar cane factory and shows the women’s contribution to the revolution. The open discussion between the woman tackled topics like struggle of being a woman, wanting to be able to explore your interest while being a loyal working citizen and dealing with machismo. I love that this is a topic of discussion that can still be had nowadays, although things have progressed in certain aspects woman still deal with it. Gomez shows how patriarchy affects women, men complaining that the women working at the factory interferes with their “paternal” duties making it inconvenient and stressful for the woman to have any separation from what is thought to be the “woman’s responsibility.”

Madison Reed