In this new edition of Thursdays of Chilean Cinema, we’re sharing two works that were the most-watched in our 2020 cycle, Adriana’s Pact (photo) and Austral Fever, highlighting female creators who work behind the scenes to lay the foundations for essential elements of each film.
Miranda, meanwhile, is one of the most outstanding non-fiction editors in Chile, responsible for the cuts of The Waltz of the Useless by Edison Cajas (Mar del Plata, 2013), The Journey of Monalisa by Nicole Costa (DOC NYC, 2019), and currently Pampas Marcianas by the MAFI Collective and Albertina y los Muertos by Cesar Borie, among others. She is also a director: her short film Médula premiered at IDFA in 2013 and she’s writing her first feature, Los días sin Nombre.
Adriana’s Pact by Lissette Orozco (Berlinale, 2017), one of the most emblematic Chilean documentaries of recent years, was edited by Melisa Miranda, who wove personal and political elements together to create a reflection on the marks left by the Dictatorship of Pinochet.
In intertwining archival material with autobiographical recordings, Miranda builds a powerful edit that compels us to dismantle the dark past of our country, and of our own families as well.
In Austral Fever by Thomas Woodroffe (Venice, 2019), the impeccable eye of director of photography Emilia Martin comes through with a treatment that walks the thin line between pleasure and pain. She exposes this limit pictorially, with images that recall questions about the body, about loneliness, and the break between light and darkness.
Following its premiere in Venice, Austral Fever was shown in Nest Film Students at San Sebastián Film Festival, Shortcuts in Toronto, and NYFF, among others.
As of late, Martin worked on the short film Litre by Sebastián Salfate and is currently awaiting the filming of Bloques erráticos, also by Woodroffe.
WATCH "AUSTRAL FEVER" (password: juevesdecinechileno2021) (click)