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Blanquita: Truth does not lie within the fog.

Blanquita| Fernando Guzzoni | Chile, Mexico, Luxembourg, France, Poland| 2022


The confinement of small rooms lit by artificial light. Voices that become noise in their saturation and insistence. The shelter of a green blanket that is more reminiscent of decay than of life. The out-of-focus faces that become bureaucratic and anonymous. All these elements, and more, piece together the film “Blanquita” (2022) by Chilean director Fernando Guzzoni. This story is built like a nightmare, but not a nightmare that lasts all through the night and from which you can escape at dawn. This nightmare is a collective one; it is the bureaucracy, the Church, the corporations, the power and, as such, it is the fabric of reality itself. This nightmare is the one that shapes and determines our lives, the one that decides for us and dislocates our stories.


"Blanquita" is the story of a woman who is caught between the violence born from the networks between political and economic power, and the unfolding of this alliance’s social reach. Blanca (Laura López) is the access point for the viewer to learn about the perversions and horrors of a network of pedophilia and child pornography managed by Chilean businessman Pablo Kahn, and used by Chilean political figures. Subject to a trial she is bound to lose, Blanca not only relives her own pain but also that of all those who orbit around the rules of the game devised by the perpetrators themselves. Based on the real life Spiniak Case, the story’s endgame and resulting structure is not aimed at discovering the culprit, but at questioning how to deal with blatant corruption kept in place by the same force that articulates our justice systems. A corruption so deep that it makes up daily aspects of our existence, sustained by the patriarchy and impunity.


The film is not emotionally distressing in the way it is told, but rather creates a feeling of outrage (regarding the issues it touches upon) and incomprehension (surrounding the conflict it raises), because formally everything begins to fall apart: the possibility of freedom and compliance with the law and the very voices that initially carried hope. As the film progresses, every point of view, every enunciation, is loaded with deception and every reference point becomes unreliable. This allows for an open interpretation of the film, subject to relativism; a "we will never know the truth of what happened", "maybe everything was just a fabrication." These sentences are often pronounced during investigations surrounding cases of gender violence.

However, despite the complexities and lies, it bears remembering that the criterion of truth is always laid down by those who have the means to make the world fit in with their own perspectives, and that autonomy does not exist when there is a power imbalance and when there are individuals who don't even have a place in the world. Thus, "Blanquita" opts out of Manichaeism, because the narratives go beyond the battle between good and evil; Interestingly, while there are no certainties within the film, we can recognize the world we live in and it is precisely there where we can face up to it, as we acknowledge the existence of something we just cannot tolerate any longer.



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