Bettina Perut
- Producer
- Director
- Writer
Since its beginnings, the documentary work of the duo Bettina Perut and
Iván Osnovikoff has stood out for the risk and creativity of its themes,
treatments and points of view. With eight feature films to their credit, their
poetic journey is full of turning points and mutations that have accompanied
the technological and cultural transformations of their time, challenging the
most stable and conservative premises of what is understood as
documentary cinema.
Their work has gone from a very physical and gestural first register linked to
the lightening of the cameras and the voyeuristic impulse, present in films
such as "CHI-CHICHI LE-LE-LE MARTÍN VARGAS DE CHILE" (2000) or "UN
HOMBRE APARTE", which in turn emphasized the performative dimension of
their protagonists (the boxer Martín Vargas in the former, and a fantasy
manager in the latter); towards a visual stylization that began with the
exercise of inverted ethnography "WELCOME TO NEW YORK" (2006), found a
hinge in the ethical exploration of the field (and its limit) in
"NOTICIAS" (2009), and reaches a climax in "SURIRE" (2015), a documentary
about a salt flat in the altiplano where landscape, nature, animals and
humans, are observed from a gaze that combines the sensory with
materiality.
Rather than conclusions, Perut + Osnovikoff's documentaries raise
questions, interrogate the limits and common senses. This is the case, for
example, of their two entries on social memory, on the one hand "EL
ASTUTO MONO PINOCHET CONTRA LA MONEDA DE LOS CERDOS" (2004),
where groups of schoolchildren represent the military coup through
improvised acting, combining play and parody, telling us about a conflictive
present that inhabits the bodies, an issue that they emphasized even more
in "LA MUERTE DE PINOCHET" (2011), a "social fresco" around the day of
Pinochet's death.
Although their work has been discussed and even marginalized from some
circuits, his proposal has done nothing but grow and open to new avenues,
understanding documentary film as both a plastic and social exploration.