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Patricio Guzman Zoom Q&A - Shared screen with speaker view
Melanie Pores
01:07:43
no volume
Melanie Pores
01:21:43
¿la película muestra una ventana al estado de des-exilio, nos pude compatir un poquito más sobre lo que usted experimenta en cuanto al estado de des-exilio que experimentes?
Annick Bureaud
01:28:22
Nostalgia de la Luz is about this space that has layers, the Andes seems to be more about time, past and present combined
fiona
01:28:56
Has the making of this film changed the way you think about the passage of time?
Sonia R
01:30:33
In the movie, you make the point that there are people in Chile who are trying to re-write history and pretend that what happened didn't actually happen. How successful do you think they have been among the Chilean population? also, how do you compare that to similar cases that happen elsewhere in the world?
Mikaela
01:30:49
I love that the land has such a vibrant, living presence in your films. What is your approach/strategies to translate the language of the land for the audience to “hear” the land speak within your films?
Melanie Pores
01:36:36
¿puede ser el temor muy profundo que muchos chilenos llevan adentro que les afecta y porque se callen?
fiona
01:39:55
What will happen to the archive of historical video tapes created by the filmmaker who appears in the film? Will they be preserved by a museum? How will Chileans and others be able to see these films?
Coe Family Chatham, NY
01:39:57
Are you familiar with the concept of Western Media; the history-suppression function of US mass media, politics, education and the church? For example, playwright Harold Pinter, Nobel Prize 2005, mentions world democracies overthrown by the US in it’s “cold war”: Haiti, Paraguay, Brazil, Uraguay, Greece, Indonesia, Turkey, Philippines, Guatemala, El Savador and Chili. Are you conscious of keeping your film non-economic, low on financial systems, amount of resources stolen, who got the wealth redistribution; low on economic analysis in a Marxist sense? I’m a documentary filmmaker and I was interested in school economics, which is no obstacle for audiences but distributors have been stonewalling. I’m talking about the difference between human narratives of suffering separated from economic force generating the suffering. Can you recommend films about the Chilean dictatorship that are focused on the unity of violence, economics and racism, ie. capitalism? I’d love your recommendations. Thank you.
Larry
01:50:11
Your film leads to a very pessimistic conclusion. Do you really see no hope for the future in Chile?
Silvia Mejía
01:50:33
Going back to the central role of description in your style as a documentary filmmaker… Were the magnificent images of the Andes captured with drones? If so, how do you think this technology has affected your ability to describe or your way of describing in film?
Melissa Bromley
01:50:45
It's hard to put words to this question--can Patricio speak to the examination of media and filmmaking and media makers in relation to a fascist government? Follow up question: what, if anything can we do here in the U.S. as media makers to prevent the growth of fascist power?
Steve Pierce
01:51:00
It seems more important every day that we have a trilogy like yours to help make sense of what is happening to the United States. Are you aware of filmmakers outside the mainstream who are working to document our decline?
Annick Bureaud
01:54:37
Pablo Salas in your film complains about the people with smart phones that prevent him from doing his documentaries and his films by interfering in his images. What do you think of the fact that everyone can produce images today, that cell phones have become visual witness to crisis
Annick Bureaud
01:54:53
Would you like to use the cell phone to film ?
Melissa Montero
01:59:00
Saludos Patricio, gracias por compartir con nosotros, super agradecida. Noto que su estilo de escribir en sus documentales es en el presente aunque todos los eventos son obviamente del pasado. Usted hace eso conscientemente? That style of writing really hooks me into your films and I wanted to know if that’s comes to you naturally? gracias
Coe Family Chatham, NY
01:59:13
Noam Chomsky talked of visiting Chili, the death chambers, and being especially struck, 25 years later, with the level of fear still present throughout society. Also the toturers living side by side the victims because there was never any moral reckoning. Perhaps this is perceived as silence of the indigenous people, or interpreted by some as cynicism?
Branda Miller
01:59:44
What is the role of cultural imagination in your film?How do diverse forms of cultural imagination offer powerful tools of creative resistance?What is the role of cultural imagination in your film?How do diverse forms of cultural imagination offer powerful tools of creative resistance?
highk
02:00:06
The relationship between Pablo Salas’s archive and what this archive captures as moments in the the country’s memory are juxtaposed with the images of the Andes mountains. This make me think of time and memory in very different scales of time. Could you speak about those scales of time and what that might suggest?
Melanie Pores
02:00:42
Me encantaba la técnica de revelar los adoquines con los los nombres de los caidos ¡tan poderoso! Una sugerencia que quisiera compartir. En sus películas en adelante, si pudiera encontrar una manera de hacer más visible lo que contiene los subtítulos?
Branda Miller
02:05:14
In particular in The Cordillera of Dreams, well over 20 minutes of the film begins with a focus on the Andes… then you use avalanche footage as a “rupture” not only for the mountains but as a formal structural rupture for the film — shifting us to the focus on Pablo and his witnessing with his camera.What is your process for structuring your films? How much do you go in with a clear structure, or does the production and post production process form the structure?
oscarfrasser
02:10:48
As someone who has been a lifetime filmmaker, what do you consider (outside of the idea of mainstream success) have been your biggest accomplishments/satisfactions in making this beautifully poetic trilogy? Thank you for this gift to the world.
Branda Miller
02:15:03
Filmmaking is a collaborative act — a question for Renate as your life partner and producer:The role of the Producer is so critical to the success of a documentary film. What advice do you have for us on how to best support the realization of a director’s dreams? Can you share a bit about your collaborative process, and creative advice for producers and other members of the documentary crew?
Coe Family Chatham, NY
02:16:35
Thank you for you extraordinary work and expert answers to the broad questions. Be well.
oscarfrasser
02:23:33
Patricio gracias por tu aporte a tan dificil tema. Tus films han inspirado y educado a tantas personas. De todos tus documentales cual consideras que ha sido tu mayor logro y uno de los mas importantes films en comunicar tus emociones e ideas. Sabiendo que en una trilogia un film necesita de el otro.
highk
02:32:20
Thank you for such a rich discussion and Maestro Guzman - gracias for your amazing films! Thank you Daniel for your fabulous translation. And thank you Branda, Steve and Melissa and The Sanctuary for organizing this event!
Annick Bureaud
02:33:47
Mucha Gracias. It has been an incredible evening
Larry
02:34:30
Thanks you all very much for this splendid discussion.
Melanie Pores
02:35:19
gracias por todo ¡fenomenal!
Steve Pierce
02:35:33
If you missed “The Cordillera of Dreams” (or want to see it again), it is available on-demand during any 48 hour window through May 28, 2020. Tickets are $12. To purchase, visit:www.vimeo.com/ondemand/cordillerasanctuary
oscarfrasser
02:35:41
Muchas gracias Patricio!!!
oscarfrasser
02:35:55
Nos inspiras mucho.
Melissa Montero
02:36:41
gracias!!!!
Silvia Mejía
02:38:03
¡Gracias¡
Aileen
02:39:05
Thanks !!!