Three years after Pinochet’s coup d’etat, Carmen (Aline Küppenheim) leaves to supervise the renovation work on her villa by the sea and is lost in conjecture about the color of the walls. Pink or blue? The local priest asks him for a hand: he secretly harbors a wounded young man, a simple “thug”, he claims. Carmen, who would have liked to be a nurse, complies and, one thing leads to another, begins to lie and then goes underground.
“Chile 1976” seduces by the atmosphere of paranoia that it knows how to install. Police checks at the time of the curfew, spinning in the car, silence broken by an incessant buzzing suitable for transcribing the mental state of Carmen, a bourgeois increasingly surrounded by the impalpable threat of the military dictatorship (1973-1990 ). Meeting with the director, Manuela Martelli, passing through Paris.
Where was this film born?
Manuela Martelli From the story of my grandmother, her very first source of inspiration. I didn’t know her, except through the stories my family told her. I knew she had attended an art school. But she remained very mysterious to me. This mystery nourished the construction of the main character, Carmen, a well-to-do, bourgeois doctor’s wife retired to her vacation villa and a priori very far from the Chilean political situation. That said, “Chile 1976” is primarily a fiction.
In your film, we only hear Pinochet on television and we don’t talk about politics.
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