{"id":3942,"date":"2025-09-06T17:01:59","date_gmt":"2025-09-06T15:01:59","guid":{"rendered":"https:\/\/cineclubbedarieux.fr\/?p=3942"},"modified":"2025-11-17T06:20:37","modified_gmt":"2025-11-17T05:20:37","slug":"chili-1976-dimanche-16-novembre-14h30-presente-par-cedric-lepine","status":"publish","type":"post","link":"https:\/\/cineclubbedarieux.fr\/index.php\/2025\/09\/06\/chili-1976-dimanche-16-novembre-14h30-presente-par-cedric-lepine\/","title":{"rendered":"\u00ab\u00a0Chili 1976\u00a0\u00bb Dimanche 16 novembre 14h30 pr\u00e9sent\u00e9 par C\u00e9dric L\u00e9pine"},"content":{"rendered":"\n

Manuela Martelli<\/a> (2023) Chili 1h35 Avec Aline K\u00fcppenheim<\/a>, Nicol\u00e1s Sep\u00falveda<\/a>, Hugo Medina<\/a><\/strong><\/p>\n\n\n\n

Chili, 1976, Carmen, petite bourgeoise sans histoire s’occupe d\u2019un jeune \u00e0 la demande du pr\u00eatre qu\u2019il h\u00e9berge en secret…….<\/strong><\/p>\n\n\n\n

Plus qu\u2019un simple thriller, Chili 1976 trace un portrait de femme d\u00e9licat et profond<\/strong><\/p>\n\n\n

\n
\"\"<\/figure>\n<\/div>\n\n\n

\u00c9crit et r\u00e9alis\u00e9 comme un polar intimiste, le film de Manuela Martelli brosse avec d\u00e9licatesse et une belle palette de nuances le portrait de Carmen \u2013 et \u00e0 travers elle celui du Chili de ces ann\u00e9es-l\u00e0. Par petites touches, la r\u00e9alisatrice raconte les ambigu\u00eft\u00e9s, les antagonismes d\u2019une bonne soci\u00e9t\u00e9 pour qui la peur-panique du communisme a justifi\u00e9 l\u2019instauration d\u2019un \u00c9tat d\u2019urgence et permet toutes les exactions \u2013 mais se marie difficilement avec les pr\u00e9ceptes de l\u2019\u00c9glise. Laquelle est violemment partag\u00e9e entre une hi\u00e9rarchie r\u00e9actionnaire proche du pouvoir militaire et une base, pr\u00eatres, cur\u00e9s, largement gagn\u00e9e au courant de pens\u00e9e de la th\u00e9ologie de la lib\u00e9ration . Tout en subtilit\u00e9, le film \u00e9vite adroitement l\u2019\u00e9cueil du drame psychologique et moralisateur en utilisant les codes du thriller, musique ent\u00eatante, suspense, rares et efficaces effets de surprise. Il oscille ainsi entre moments de tension intense et description sociale minutieuse, pour raconter l\u2019histoire d\u2019une femme qui s\u2019\u00e9veille sur le tard aux r\u00e9alit\u00e9s qui l\u2019entourent, alors que son pays tout entier va durablement \u00e9touffer sous une chape de plomb<\/strong>.utopia<\/p>\n\n\n\n

Il y a pr\u00e8s de 50 ans, le Chili a connu des heures tr\u00e8s sombres et le cin\u00e9ma de ce pays a souvent puis\u00e9 dans cette histoire pour nous offrir un certain nombre de films tr\u00e8s forts. Le film de Manuela Martelli, son premier long m\u00e9trage en tant que r\u00e9alisatrice, a ceci de particulier qu\u2019il parle de cette \u00e9poque de fa\u00e7on feutr\u00e9e tout en transmettant fid\u00e8lement aux spectateurs le sentiment d\u2019angoisse qui gagne petit \u00e0 petit son personnage principal. Carmen, ce personnage principal, est magistralement interpr\u00e9t\u00e9 par Aline K\u00fcppenheim.<\/strong> Jean-Jacques Corrio –<\/p>\n\n\n\n

Aline K\u00fcppenheim (\u00ab\u00a0Une femme fantastique<\/a>\u00ab\u00a0, \u00ab\u00a0Mon ami Machuca<\/a>\u00ab\u00a0) porte le film sur ses \u00e9paules, transmettant la f\u00e9brilit\u00e9 d\u2019une apprentie clandestine, qui d\u00e9couvre \u00e0 son tour la suspicion g\u00e9n\u00e9ralis\u00e9e, et le fait qu\u2019il lui sera d\u00e9sormais impossible de faire confiance \u00e0 qui que ce soit. Efficace, la mise en sc\u00e8ne de Manuela Martelli prend son temps pour installer cette ambiance d\u00e9l\u00e9t\u00e8re, concoctant de vrais moments de tension, \u00e9grainant les d\u00e9tails suspects, et parvenant au final \u00e0 nous transmettre le sentiment de culpabilit\u00e9 d\u2019un pr\u00eatre accabl\u00e9 par ses d\u00e9cisions pass\u00e9es, devenu celui de toute une partie de la population. Un apprentissage de la vraie g\u00e9n\u00e9rosit\u00e9, pour une femme complexe et saisissant, qui va bien au-del\u00e0 de ses lectures aupr\u00e8s de quelques aveugles.<\/strong>Olivier Bachelard<\/a><\/p>\n\n\n\n

<\/p>\n\n\n\n

La r\u00e9alisatrice<\/strong><\/p>\n\n\n\n

Manuela Martelli a particip\u00e9 \u00e0 plus de 15 films en tant qu\u2019actrice, parmi lesquels MON AMI MACHUCA (Andres Wood, 2014). En 2010, elle a re\u00e7u une bourse pour poursuivre un master en cin\u00e9ma \u00e0 l\u2019Universit\u00e9 de Temple, aux \u00c9tats-Unis.
Elle a tourn\u00e9 plusieurs courts m\u00e9trages dont MAREA DE TIERRA, projet\u00e9 \u00e0 la Quinzaine des R\u00e9alisateurs en 2015.
CHILI 1976 est son premier long m\u00e9trage.<\/em><\/p>\n\n\n\n

l’interview<\/strong><\/p>\n\n\n\n

Pourquoi avez-vous choisi de raconter ce moment particulier de l\u2019histoire du Chili du point
de vue d\u2019une femme appartenant \u00e0 la classe moyenne sup\u00e9rieure plut\u00f4t conservatrice ?<\/p>\n\n\n\n


En m\u2019interrogeant sur ma grand-m\u00e8re et le silence autour de sa mort, je me suis int\u00e9ress\u00e9e \u00e0 la p\u00e9riode
de cet \u00e9v\u00e9nement : 1976. C\u2019est l\u2019une des ann\u00e9es les plus sombres et cruelles de la dictature. Avant
m\u00eame de parler de d\u00e9pression, j\u2019ai tent\u00e9 d\u2019\u00e9tudier le contexte. Puis d\u2019autres questionnements ont
surgi pour tenter de comprendre ce moment si particulier de l\u2019histoire du Chili : \u00ab Comment imaginer
que ce qui se passait dans la rue n\u2019affecterait pas l\u2019espace domestique ? Comment pouvions-nous
faire comme si de rien n\u2019\u00e9tait et vivre notre quotidien, tandis qu\u2019\u00e0 l\u2019ext\u00e9rieur les dissidents \u00e9taient
jet\u00e9s dans l\u2019oc\u00e9an ? \u00bb.<\/strong><\/p>\n\n\n\n

La cam\u00e9ra reste tr\u00e8s proche de Carmen tout au long du film, comme si elle l\u2019isolait de
l\u2019environnement ext\u00e9rieur.<\/strong><\/p>\n\n\n\n


Apr\u00e8s plusieurs versions du sc\u00e9nario, j\u2019ai compris que le film \u00e9tait avant tout une \u00e9tude de caract\u00e8re.
Il fallait que je regarde \u00e0 travers les yeux de Carmen, c\u2019est devenu le fil conducteur. C\u2019est
pourquoi le choix du titre est si fondamental. Il fait appara\u00eetre une contradiction : quand on utilise une
date comme titre, on s\u2019attend au r\u00e9cit d\u2019\u00e9v\u00e8nements historiques pr\u00e9cis comme une bataille, la conqu\u00eate
d\u2019un territoire ou la naissance d\u2019une nation, pas \u00e0 la vie quotidienne d\u2019une femme anonyme. Nous souhaitions
\u00eatre en permanence aux c\u00f4t\u00e9 s de Carmen, \u00e0 travers son regard . C’\u00e9tait notre mani\u00e8re de nous
attacher \u00e0 sa subjectivit\u00e9 et de ne pas raconter l\u2019histoire du Chili telle qu\u2019on me l\u2019avait enseign\u00e9e
dans les manuels scolaires.<\/strong><\/p>\n\n\n\n

Les chaussures ont une symbolique particuli\u00e8re dans votre film.<\/p>\n\n\n\n


Je n\u2019en avais pas conscience au d\u00e9but , c\u2019est venu comme une co\u00efncidence. Ma m\u00e8re m\u2019a racont\u00e9
un jour qu\u2019en allant voir un proche dans une chambre mortuaire, elle a \u00e9t\u00e9 d\u00e9contenanc\u00e9e \u00e0 la vue des
chaussures vernies et pr\u00eates \u00e0 \u00eatre chauss\u00e9es. Cette image m\u2019a beaucoup \u00e9mue. Pour moi, les chaussures
vides incarnaient parfaitement l\u2019absence. Plus tard, quand j\u2019\u00e9crivais le sc\u00e9nario, ma s\u0153ur a eu l\u2019id\u00e9e
de la s\u00e9quence des chaussures du d\u00e9but du film. Elle pensait que \u00e7a serait int\u00e9ressant qu\u2019un \u00e9l\u00e9ment
perturbateur rompe le quotidien de Carmen. Cela prenait sens, pas seulement comme une anecdote
mais quelque chose qui aurait un effet sur l\u2019ensemble du r\u00e9cit, comme si le monde de Carmen \u00e9tait
en train de s\u2019effondrer. Comme vous le voyez, c\u2019est un peu un film de famille !<\/strong><\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

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