2016, 69 minutos
Directed by Nicolás Videla
Produced by Selva González
International Premiere at NewFest 2017
National Premiere at FICVALDIVIA 2016
SINOPSIS
Release date: 2016
Running time: 69 minutes
Shot in Full HD
Available for screening in DCP and H.264
Image format: 16:9
Sound format: 5.1
Original language: Spanish, French, English
Subtitles: Spanish, English, French
CAST & CREW
Cast: Manuela Guevara, Daniel Larrieu, Viktor Philip, Isabelle Ziental
Director: Nicolás Videla
Producer: Selva González
Associate Producer: Nicolás Videla
Screenwriter: Nicolás Videla, Selva González, Manuela Guevara
Assistant Director: Ewen Lebel-Canto
Production Assistant: Javiera Bonnefoy
Cinemaphotography and Camera: Nicolás Videla, Sebastián Pose
Direct Sound: Selva González
Editing: Nicolás Videla
Costume and Makeup: Manuela Guevara, Nicolás Videla
Music Score: Martín Bruce, Santiago Jara
Audio Postproduction: Sonamos
Image Postproduction: David Cárdenas
Translation and Subtitles: Utopía Traductions
Poster Design: Rami Soto
Production Company: Maltrato Films
National Distribution: Storyboard Media
FICVALDIVIA 2016 (Chile)
Special Jury Award
NewFest 2017 (US)
Special Jury Mention
Best National Feature Film
AMOR Festival Internacional LGTB+ 2017 (Chile)
Jury Award, People’s Choice Award
Inside Out 2018 (Canada)
Black Movie International Independent Film Festival 2018 (Switzerland)
Translations Film Festival 2019 (US)
International Queer & Migrant Film Festival 2019 (The Netherlands)
PRESS & REVIEWS
“
Videla is one of the strongest voices of a Chilean cinema moving almost on the outskirts of the industry, with low budget and limited releases, but that has a sharp and necessary political and aesthetic vision.”
– ZOOMBACK
“
With the director in disguise, travesti DJs and lots of lipstick, the avant-premiere of the national film "The Devil’s Magnificent" took place. The event, held on Tuesday, July 4th at the Main Stage of the Matucana 100 Cutural Center, featured a performance by travesti vedettes for the song "Una Chilena en Paris" by Violeta Parra.”
– TELÓN
“
A film that seduces with its poetic language and that gains strength in the streets of France.”
– EL MOSTRADOR
“
The break with the binary form of operation extends to the very genre of the film, producing a cinematographic hybrid in which fictional and documentary elements are mostly indistinguishable. This is one of the most interesting aspects of the film, where, starting from the basis that we are facing openly militant cinema, it avoids functioning under a propagandist logic, articulating, instead, a scheme of forms that allows the exploration of new sensations instead of reiterating explanations within the transgender world.”
– Sebastián Galleguillos, EL AGENTE CINE
“
The film seduces from beginning to end, managing to draw us into an unstable code, that of fiction constructed from documentary fragments, and with an equally unstable character whose identity, with blurred limits (in transition), forces us to fully enter the LGBT conflict which, as feminism dictates, is profoundly personal and yet political. Manu knows this, and so does Videla, who magnificently intersects a struggle for public recognition and a simple story of searching for love, two paths that are embodied in Manu, an extraordinary, baroque, intense woman.”
– Roberto Doveris, LA FUGA
“
Through a poetic and autobiographical approach, the film creates a fictional exploration based on the main character life through a personal perspective, rather than claiming to be representative of a collective experience. She elegantly walks through Paris talking to her---self, to us, debating on her life, desires and becomings, in a search for a different kind of freedom. But the city that usually draws an elegant landscape also involves the violent reaction of an occidental society. The powers of the false, the artifice and simulacrum are the essence of cinema, but are also inherent to our presence in today’s world. Manu exercises the act of creating characters in her own life. As she threatens to be more than a man or a woman, others create a wrong or at least confusing idea of her, founded on the ghosts of her appearance.”
– Cüneyt Çakirlar, CINE/MOBILITY