'Chile ’76' is a 1976-set period thriller of beguiling power, energized by its portrait of one woman’s heroism and the means by which it’s motivated by guilt, regret, fury, and despair—the last of which, ultimately, proves inescapable.
A Chilean radio station welcomes American listeners as it begins playing cheery national music, only for the transmission to be interrupted by a government broadcast prohibiting anyone from addressing politics. A pleasant dinner conversation is fleetingly punctuated by critical remarks about the Pinochet government, and then again proceeds along its superficial course.
Resonating as a memory piece conjured from its maker’s own history, and crafted with a meticulousness that’s as central to its suspense as is Mariá Portugal’s ominously sparse, disorienting electronic score, Martelli’s maiden feature is a redolent snapshot of a time, place, and people brutalized, overtly and subtly, by dictatorship. It’s a drama whose formal concision and elegance amplifies its desolation.
As is well-known to her husband and her housekeeper Estela , Carmen has a habit of treating her ennui by excessively popping pills and booze. The morning after one such bout of imbibing, Carmen is awakened in her bedroom by local priest Father Sánchez , whom she’s brought children’s clothes to donate to the parish. He, in turn, has brought something for her—or, rather, someone.
Carmen, who routinely spends her time reading to the blind, immediately assumes caretaker duties for Elias, endeavoring to procure drugs to treat his leg from her husband and, also, from a hospital where she claims to need them for a distressed dog.
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