Synopsis
Using human corpses and invoking the spirits of two damned Secretaries of State, a girl performs a ritual to free the kingdom of Chile from its feudal heritage.
The Bones
2021 ‘Los Huesos’ Directed by Cristóbal León, Joaquín Cociña
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Chilean stop motion animation produced by Ari Aster and directed by the duo who did the incredible film The Wolf House (please please watch that movie).
This purports to be a lost film from 1901, and I spent the whole time, possibly distractingly so, saying it 'is it really from then?' 'No way they did this in 1901.'
It's a good blend of creepy and hopeful; and like The Wolf House, is a little too insidery Chilean history/politics to understand everything, but the broader themes horror and promise resonates
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fuck la derecha, all my homies hate portales y guzmán.
no, pero en serio. guzmán oficiando /esa/ ceremonia literal le destaca lo don satán: empezando por ser el reflejo de la derecha acérrima y católica que siempre va a negar el abuso a menores. entonces, que idolatren tanto a portales, al final sólo hace el perfil más claro de todos sus valores de mierda.así que, en resumen, la mejor anti-oda a esos dos nefastos. el mejor diseño de sonido, stop-motion y waaa, todo... ¿será que me emociona que se estrene tan cerquita del 18 de octubre con fuego esperando a quemar la constitución de pinocho?
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Simultaneously sweet and macabre, while posing as an excavated silent movie from 1901, this arrives as something of a love child between Jan Svankmajer and Tim Burton. It’s also, according to MUBI, political, in its “ritual exorcism to free Chile from its feudal heritage”. But I was too busy enjoying the dancing body parts to really notice all that.
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After experiencing "La casa lobo", I was very eager to see what these two creative and different filmmakers do next, and the short animation "Los Huesos" is the exact continuation of the same deep and attractive surreal components of the previous animation. A look through the lens of silent and classic cinema to a show of creation and death with a strange and engaging theme. It is a recreation of Chile's dark years and its dictatorial governance. The interesting thing about this animation is the presence of Ari Aster as the producer. An issue that can promise the audience a more global presence of these two attractive creators in a wider field than before.
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so you know how people joke around saying "Its a cursed movie" , Yeah im prettty sure this actually is because things kept on moving in my living room
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Perhaps, I understood too little of everything, perhaps I haven't understood nothing at all...but more like as in these filmmakers duo's previous stop-motion animation THE WOLF HOUSE, here's also one can find solace within inexplicable premise of Incomprehensible nothingness; a strange shapeless horrid lingering in between onstage puppetic movements of these three masterfully animated characters. Among them one is a strange-looking puppet girl with, many strings attached onto her, who's by exorcism seemingly performing a weird ritual of summoning dead bodies back to their lives once again with their zombie-like sensibilities. It starts with a very earlier twentieth centuryesque set up with a stage, a curtain, a girl mentioned above and a wooden floor suddenly gets cracked with some bones…
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No soy chileno así que tuve que investigar el trasfondo, y vaya que romper de una manera tan onírica, muy a su estilo, del cuál me enamoré (como todxs) con La Casa Lobo, con las raíces conservadoras de un país que ha sufrido tanto como Chile es magnífico de ver. Y definitivamente que Ari Aster estuviese involucrado va a dar ese reconocimiento internacional que se merece el trabajo de estos genios.
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I love how tactile this film feels—the mounds of soil forming and unforming, the angles and roundednesses of the conjured bones, the soft grey skin of the exhumed corpses, the black stitching through their eyelids, the rough texture of the little exorcist’s face, her smooth wooden feet. Both soothing and disturbing. The fact that all three characters are real-life figures from Chilean history adds a layer of opacity for non-Chilean viewers, perhaps—though really, having now read Constanza Nordenflycht’s wiki page, and then rewatched the film again, I think that even if you have some sense of who these people were and what they represent, some storytelling choices remain quite weird, but in a way that I think enriches the text…
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Cinema is archaeology, but also ceremony, histories re-animated to a textured rhythm of rotten flesh. The puppeteer is a necromancer and their ritual is danse macabre through grotesque stop-motion and a piano melancholy; the Frankenstein myth as it writes a new nation from the text of its dead past.
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