‘We Aimed to Capture the Intimacy of the Characters in Each Scene’

Set in the backdrop of Santiago in 2018, the student protests serve as a stark reminder of state violence and the criminalization of dissent in Diego Ayala and Aníbal Jofre’s new feature, “The Affections” (“Los Afectos”). Debuting in competition at the Santiago International Film Festival (Sanfic), this film comes amid a selection of nine Chilean projects.

Ayala and Jofre previously collaborated on their 2013 feature-length debut, “Volantín Cortao,” which was showcased at Locarno’s Carte Blanche and premiered at the Rome Film Festival. Their latest project dives deeper into the personal and political intersections of a society in turmoil.

Produced by Valentina Roblero Arellano and Francisca Mery at Chile’s Orion Cine, with co-production from Ecuador’s Incubadora, “The Affections” follows school inspector Benjamín (Gastón Salgado) during a period of intense student activism. Benjamín is troubled by his daughter’s friend Iván (Gianluca Abarza), who supports her bold protests. When tragedy strikes and Karina (Catalina Ríos) is killed by authorities during a demonstration, Benjamín faces a profound internal conflict.

The film intricately explores Benjamín’s internal struggle with state-mandated violence and the loss of his daughter. It serves as a poignant commentary on societal constraints, capturing a collective mourning and individual soul-searching. Characters in the film navigate both self-imposed and societal limitations.

Roblero Arellano shared with Variety that the project captivated her interest due to its focus on individuals within society and the directors’ penchant for sensitive realism. The production journey, driven by affections as a symbol of resistance, became an exquisite cinematic process where elements like music disrupted conventional storytelling.

Unlike many films depicting Chile’s upheavals, “The Affections” stands out for its sobering and class-conscious narrative. It challenges the ignorance that breeds hatred through the lens of a conflicted male protagonist and the teenagers he oversees.

Ayala mentioned their intent to approach scenes with intimacy, focusing on personal encounters rather than broad settings, aligning with Humberto Maturana’s idea of education as transformation through coexistence. This narrative also critiques the old-guard masculinity, juxtaposing the structured, empathetic youth against their flawed adult counterparts.

Gastón Salgado’s portrayal of Benjamín navigates a generational shift where emotional sensitivity among the youth offers a new paradigm. The film showcases the tumultuous journey of adapting to this shift, highlighting the irrevocable changes and the necessity of adaptation within traditionally masculine roles.

Interspersed with raw hip-hop and spoken-word segments, the film channels grief and anger, supporting characters’ personal and political evolution.

Jofre remarked on the hybrid nature of the film, blending audiovisual genres to capture the horror of real events, positioning itself as honest and militant cinema that resonates with current times. The inclusion of artists like Gianluca and Sara Hebe aims to explore expressive possibilities, enhancing the narrative’s depth.

Ayala and Jofre’s project emphasizes diverse viewpoints, reinforcing the global relevance of independent, regional cinema amid governmental efforts to stifle such expressions.

Jofre highlighted the importance of diverse coexistence and the serious implications of authoritarian regimes. He emphasized the need for global solidarity networks to counter media’s limited representation of working-class communities, drawing inspiration from local environments, as suggested by Lucrecia Martel.

Source: Variety