By José Miguel Palacios
Nostalgia for the Light (2010) and The Pearl Button (2015) continue the interrogation of the past that filmmaker Patricio Guzmán began with Chile, Obstinate Memory (1997). Nearly twenty years have passed since the release of that film, in which Guzmán brought back copies of his trilogy on Popular Unity and the coup d’état, The Battle of Chile (1975-1979), to confront the amnesic Chile of the nineties with documentary evidence of a past that had been unable to find its place within the democratic transition. [CLICK HERE TO READ THE FULL TEXT]
This is the first in a series of articles co-presented with Colección Cisneros. The series explores themes in contemporary culture and the overlap between the visual arts and film.
