Based on true events, involving powerful Catholic priest Fernando Karadima, who committed crimes of child abuse and pedophile between 1980's-2000's. The struggle of his victims, to be able to reveal the truth and look for justice.
A crisis counselor is sent by the Catholic Church to a small Chilean beach town where disgraced priests and nuns, suspected of crimes ranging from child abuse to baby-snatching from unwed mothers, live secluded, after an incident occurs.
The new film by Andrew Wood ("Stories of football," Machuca ") came several weeks ago the national billboard, much discussed by critics and expected by the general public. And someone who does not know who Violeta Parra, regardless you like it or not, it is increasingly difficult to find in our country.
Still, knowing who you are or have heard it is not enough at all to say that we know the inside and out. And this is what "Violet went to heaven" proposes. Based on the book written by his son Angel Parra shows us a close look, and many times deep metaphorical Chilean folklorist.
With silent flashbacks, a journey between the real and the dreamer, an idiosyncrasy so characteristic of a person raised in the countryside and a life forged and hardened with hardship and suffering, "Violet went to heaven" is a complete x-ray naked the artist who provides us with the greatest simplicity himself, and incidentally, of his work.
The filmmaker manages to mix with a very positive linear history with the desires and obsessions of the protagonist, armed with a smart script from the memory and the present development of the film.
Francisca Gavilan, who stars in the film is delivered to the paper, with a sublime embodiment, and a perfect vocal and instrumental performance when required, something unfortunately scarce among Chilean companies. It shows the work required and the technical goal more than achieved.
The rest of the cast of "Violet went to heaven" offers good performances, but because of the limited role they have, fail to shine as a Hawk.
There is a game camera in the foreground, with the simple and detailed human face, and so the image goes beyond the feeling that emerges in each scene with an ease that is appreciated.
In short, "Violet went to heaven" allows the viewer a simple exercise: to see a common history, stress, ups and downs of passion and destruction, and a remarkable inspiration of an artist. How it travels between the cliff and the idealization sometimes at the same time. And all with a visual poetry that accompanies the beat of the compositions of Parra we hear throughout the film.
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