Kazoku Dessin
Meeting Point portrays the intimate working relationship between Alfredo and Paulina, filmmakers and friends. By making a fiction film they try to reconstruct the memory of both their fathers who forg…
Kazoku Dessin
Meeting Point portrays the intimate working relationship between Alfredo and Paulina, filmmakers and friends. By making a fiction film they try to reconstruct the memory of both their fathers who forged a deep friendship 45 years ago, when they shared a small cell in Villa Grimaldi, an emblematic torture center of the Pinochet dictatorship, in Chile. Both filmmakers were babies when their parents met in that detention center, but that story joined their families forever, as only Paulina's father survived while Alfredo's father is still missing. The filmmakers include their families in the staging process with the actors. They involve Silvia, Alfredo's mother and widow of his disappeared father; and Lucho, Paulina's father, who was the direct witness of what happened in Villa Grimaldi. As they go through the filmmaking process together, we understand what happened in that horrible place and we witness how everyone faces the story in the present, consciously and unconsciously. At the same time as they dig into the past to shoot the scenes, Chile is rising up in a strong social movement that the Chilean State represses, violating human rights once again. Thus, behind the camera, the emotional traces of this story are revealed in each generation, showing the internal process of the actors, the sequels that are still present in the grandparents who survived, the fears of the filmmakers and the naive look of their young children who witness this family exercise of memory, speaking about torture and disappearance. Fiction film is a vehicle that confronts them with the reconstruction of their family story, and documentary film observes this process. It is a film within a film.
Kazoku Dessin
Drama
Film Details
Meeting Point portrays the intimate working relationship between Alfredo and Paulina, filmmakers and friends. By making a fiction film they try to reconstruct the memory of both their fathers who forged a deep friendship 45 years ago, when they shared a small cell in Villa Grimaldi, an emblematic torture center of the Pinochet dictatorship, in Chile. Both filmmakers were babies when their parents met in that detention center, but that story joined their families forever, as only Paulina's father survived while Alfredo's father is still missing.
The filmmakers include their families in the staging process with the actors. They involve Silvia, Alfredo's mother and widow of his disappeared father; and Lucho, Paulina's father, who was the direct witness of what happened in Villa Grimaldi. As they go through the filmmaking process together, we understand what happened in that horrible place and we witness how everyone faces the story in the present, consciously and unconsciously.
At the same time as they dig into the past to shoot the scenes, Chile is rising up in a strong social movement that the Chilean State represses, violating human rights once again. Thus, behind the camera, the emotional traces of this story are revealed in each generation, showing the internal process of the actors, the sequels that are still present in the grandparents who survived, the fears of the filmmakers and the naive look of their young children who witness this family exercise of memory, speaking about torture and disappearance. Fiction film is a vehicle that confronts them with the reconstruction of their family story, and documentary film observes this process.
It is a film within a film..