On pense évidemment au Chili et à la prise du pouvoir du général Pinochet, alors que, bien sûr, la situation filmée est adaptable à n'importe quel pays en situation de conflit armé. D'ailleurs les derniers plans donnent une dimension plutôt inquiétante, dans une sphère d'anticipation prémonitoire, au court métrage, qui révèle le vrai lieu de la tragédie... www.cinefiches.com
The "ugly" quality of the very raw pseudo-cinéma vérité footage becomes beautiful in Marker's hands. The characters -- all of whose dialogue is related by an unseen narrator -- talk and act like Left-wing people everywhere, so this functions as both satire and tragedy. Great Twilight Zone-like twist ending.
With the off voice, the connection between visual content and textual message instantly loses the meaning we are used to have with some recent movies.I compare it to abstract art,where the subtile is a guide through the work. In this short-film, we are confronted to one reality,known by the audience because it was previously given. With no clues of what reality is being shown in the movie,Marker gives us a non-place.
Utterly depressing 'found footage' narrative of a circle of resistance fighters watching as a fascist coup takes over their country. A lot more subtle Marker spins on the narrative as to temporal and political concerns (basically, Soylent Green is people level reveal), but breathtakingly honest about its intentions. --PolarisDiB