“THE INTERNAL RESCUE OF THE HUMAN BEING” Silvio Caiozzi, director, filmmaker

Arts & Culture Inspiration Interviews Lifestyle

The wonderful thing about creating something alive is that it is no longer up to you, the living comes strongly to the public, acquires tremendous strength and that makes the film alone, reaching the most unusual places you ever thought.

Until July 30, his films will be shown at the National Cineteca of the La Moneda Cultural Center. The cycle includes forums to reflect on his filmography 40 years after the premiere of July begins in July.
His cinephile mind has a visual poetic that does not imply a particular message, prefers to flow and let the human be seen, is a critical analytic of globalization, but not because it is against it, but because it has been observed very closely as a jury In class A festivals, in the main cities of the world, Silvio says: “Film festivals are manipulated, the media transmits which film is good and which is not, which film exists and which does not exist. I have seen a number of independent films as jury, which become invisible, being extraordinary and entertaining films.

And they do not exist because they are not in the machine of what does have to exist, leaving only the films that are within that mechanism that the advertisers take, but the rest is not talked about. I have just been in Beijin as a jury and this is not just my idea, I have spoken with top-level directors, who have won Cannes and told me the same thing, it is happening everywhere exactly the same, it is not that I have a bad nightmare "

In his office you can see both his awards and the posters of his great films and far from being a complicated and sufficient director, he shows a simplicity that welcomes us to freely talk a coffee, while outside behind the bushes of his antejardín you can see how they descend the cars by Eliodoro Yáñez.

Apart from filming his own works, Silvio has also done work for television, documentaries and commercials, in addition to taking the reins of a family real estate that works in the same office where we talk about cinema, humanism and social control of this time for more than one hour.
He tells me that 30 years ago in Paris, when he presented the moon in the mirror, a Chilean who worked at a world bank told him that the world was broken, that governments could no longer finance old age or health, Silvio recalls: “… A war was being planned among other ideas or to create certain dictatorships in the world, which is the option they took. The world is going to have three dictatorships across the planet and finally only one. ”

In this line, technological changes have contributed to this objective, globalization such as social networks, which are apparently free and public, where we all participate, it is precisely from where we are controlled, he says: “… they have nothing public, networks are completely manipulated. ”

Does advertising lie?
He makes a movie every ten years or so, he tells us: "It's not that I stopped to make a movie, I've always been in the audiovisual and I make films quite calmly and in the scripts it takes me years."

- About your advertising stage, it is one thing to respond to clients and another to author work. Are there borders?
- I have well divided in the head that it is an advertising on demand and what comes from inside as my own passion, are totally separate worlds. When I did advertising cinema I never believed the story that I was doing a work of art, it is a terno requested from a tailor, but to say that one applies creativity, I have never believed it.

- What applies there?
- Knowledge and ingenuity, but the truth is always doing something that is planned, thought and you add to that basic thought of an advertising agency what you know how to do and transform it into an audiovisual product.

- Talking with gastronomic photographers, about the photo of a plate or a hamburger for a poster, which is light years away from what they serve you, I asked them: Do you lie?
"He laughs."

- Does advertising also lie?
- Yes, absolutely, it hides what not to show, in that sense it lies and there are advertisements that lie a lot.

In that line, advertising travels through an unregulated space, because it lends itself to lying. However, for Silvio the original concept of advertising is not bad in itself, he says: "For a product to reach an audience, it has to be beautiful, then that audience will determine if they really like it and if they will continue to buy it or not." . In its golden age, more than twenty years ago, Chilean advertising cinema came to create unforgettable pieces, which people commented on their ingenuity and the creation of their characters, as was the case of the Firestone Indian, a spot made by Silvio and that went down in history as part of the Chilean language, a time of creative development when companies competed for the differentiation of their products. Today everything changed, says Silvio: “In those years companies really competed, an ingenious publicity was sought to reach more people, but that disappeared, because today we live in a world of monopolies, conglomerates of few companies, which are even linked each other, therefore today they do not really care to compete, they are interested in staying, having the name of the product and nothing else. There came the decline of advertising. That led us to have an advertisement that nobody wants to see and nobody is interested, there is no competition and that is not a Chilean problem, it is worldwide ”.

- Advertising became a very important tool of persuasion to influence the unconscious of the masses, from politics, consumption and planetary control.
- I would not say only about advertising, the entire communication system of the planet is at the service of monopolies, capitalism on the one hand and totalitarian states on the other, a monopoly statism or a monopoly capitalism. All media, except for very small exceptions that have almost no existence, all the rest is controlled. For example, if a journalist wants to say something that the system does not like, they will not publish it and they will throw it over.

- Why does that happen?
- Because the great powers were monopolizing, we are in a kind of globalized dictatorship. This whole story that freedom is in this sector or on the other side of the world is not like that, the truth is that we are all under a dictatorship.

- What concrete information is there about that?
- There is no possibility to show that the planet is under a dictatorship, it is not written and if it is done it is not published. It is quite sinister.

- In the case of cinema, is a commercial criterion used because one film can sell more than another?
- It's a mixture of commercial and political, the two things together.

- Don't say certain things?
- Yes and with certain themes, politically what this side of the world does is manage mentalities in such a way, so that people have no options to compare other cinema ideas or whatever, people see a type of movies, a type of theme and content, you can choose which is better within that, there is no such huge variety of cinema thirty years ago, with extraordinary directors such as Fellini, Bergman, Truffaut. I've seen movies that have not been shown anywhere, as good as Fellini's or better. It is a planet in which a small group handles information and the existence of audiovisual products.

- Under those codes, do you have to operate with the rules of the game so as not to perish and make products related to the system?
- In general, 99 percent do what is supposed to work. Many filmmakers in the world, not only Chileans, began to realize what the themes that the festivals will choose and therefore the media will promote, so that people talk only about that. Formerly the creators were sensitive to what people were feeling and they did it, my intuition is that today things are imposed.

- Is everything marketed?

- Exactly. Today the audiovisualist knows what the wave will be next year.

- Do you think that if a work is welcomed by the public, it is not a guarantee of success?
- To be successful with the public depends zero, someone can make fantastic music that people like, but if it does not appear in the media it does not exist, the same with cinema, painting, literature and everything.

- The invisibility of art is a worldwide and historical phenomenon, but what do you think of doing focus group to know what society requires and with that data make a film?
- My films have always been born of an inner passion, it works when I am passionate about something, so I delay what I take.

- As a director, do you collect the sensitivity of society?
- No, I start from mine ...

- For example if you say that society lacks humanity ...
- In my movies I don't feel to think that I need to talk about humanity, no, because if you sit down to do a script thinking about a message, you're going to do a very bad thing. I work in an almost unconscious way and I get involved in the topic by visualizing the characters, the story and I am passionate until the movie exists. Then I realize why my brain chose that. With my last movie And suddenly the dawn, which has been in quite a few countries, people in China came out of the room excited and told me about the humanism that the movie had, of a wonderful humanity that is seen little in the cinema. Today there is no humanity or ethics, we are competing with each other in a robotic world and humanism has begun to disappear completely.

- Do you let the process flow into a future?
- Absolutely, if it wasn't for that, I wouldn't do movies. When you start a script and dream about it while you sleep and images appear of how you can follow that script, when the dialogues are born and the characters begin to acquire real life, when you film and combine a scene full of life, it is the greatest joy that I can experiment, because I have created life and that is the great secret of artists.

Touching the viewer with emotion is your axis too?
- That is the kind of cinema that motivates me, not only the one that I do, but the one that I see, the films that really interest me have that, the others that are made as advertising, with the same tricks as always, bore me .

- There is a coincidence of what you do with what the public wants.
- That is the wonderful thing about creating something alive, which no longer depends on you, the living comes strongly to the public, acquires tremendous strength and that makes the film alone, reaching the most unusual places you ever thought.

- Is the democratic system manipulable?

- Completely, for small groups that small. They try to do something that is not necessarily going to work for them, they manipulate the means to tontify people, to see two or three things and not others that are more intelligent and motivating, making that not exist, then they say that people don't I wanted to see that, but it is a lie, it is to control them, transform the planet into consumers and soldiers, so that they consume any nonsense they put into them. All media after the Vietnam War spent fortunes promoting hyper violence movies, as well as war games that sell more than Hollywood and curiously very low profile. When they realized that they had been defeated, because the soldiers were living in the era of hippism, of making love and not war, it was even said that the Vietcong gave them marijuana to continue smoking and not fighting, that had to be changed, then films like Rambo are born, a gringo only that takes revenge on everyone and Rambo comes two, three and four, with worldwide publicity, a campaign of films that did not stop anymore. This was more political than business, an intent to tontify people. There were also issues to make us fight and discuss among ourselves and not against those who govern, such as immigration, gender and racial issues, which make violence a fad, issues for people to discuss with each other.

- In culture we talk about the shredded mirror, separated from each other and competing in a collective scene where things happen and we are all divided.
- At the time it was said that with the new technology we would be more communicated and united, happening exactly the other way around, we are isolated and more uninformed than ever, when it is said that on the Internet there is all the information, precisely because of that it is not believed at the information.

- Does this depress you, anguish you?

- Why get depressed, you have to keep doing the best you can, it is so sinister what happens in the world, that the only thing left is to go inside and rescue oneself, theme of my last film And suddenly the dawn , for something I chose this theme, the inner rescue of the human being.

- Do you want to make a film with a total denunciation of the political system with the mastery of your cinema?
- If that movie were well made, strongly, it wouldn't exist, they would never promote it.

- But regardless of that, would you do it?
- I do not start to make a movie, which is a huge risk, if I am not motivated and if I start to want to say such a thing, I know that the result would end up being a very cold and panfletary matter, it is not within the nature of my inside, is something that from the beginning would be imposed. For example in The Moon in the Mirror, José Donoso came up with something that was half a page, from an old man who put mirrors to chase the neighbor, I found an extraordinary idea and then I realized why he identified me so much and Pepe Donoso also motivated him, because we were living in full dictatorship and what was lived was espionage, lack of love and confinement. We lived what that movie was, but I was not aware of that, I felt that motivated me. Before doing the script, José Donoso with more experience than I said, if you analyze this script and think about the dictatorship we are living, this is going to be a bad pamphlet and we agreed. It was never thought in those terms, I don't make a movie because I want to say something.

- But why not?
- Because I am not interested in doing that kind of cinema, which is basically a pamphleteer, that's why I made a lot of advertising cinema.

- Thanks to the fact that you have traveled the world as a jury and make these complaints, with your cinematographic tools, don't you feel a responsibility?
- I'm not going to do something, maybe there is a topic that is related to what we are talking about and if I'm passionate I do.

- What more human to say that humanity is being stunned?
- Yes, but you talk about the message and I look for human beings. It may happen that my next theme comes up with some characters that trigger my creativity and that this theme is in the background, it can happen but I don't want to propose it, I have never done it.

- With this generation in power we are on the verge of collapse, but how do the new generations come?
- They come in a fantastic wave, I think that if the previous generation fails to destroy the planet, the world will go towards something positive, if the new generations are installed in power, there may be a change and not only in Chile, I have spoken outside and All young people think the same, it is a phenomenal new generation. I am optimistic that they are the ones who rescue us, because they saw the value crisis, the generational nonhuman thing and they don't want that.

In this cycle and tribute to Silvio, the films In the shade of the sun –1974–, July will begin in July –1979–, The moon in the mirror –1990–, Coronation –2000–, Hookah –2004–, And of soon dawn –2017–, the documentary Fernando has returned, La candelaria and Historia de un solo solo - both from 1982–, made with the Ictus group.