{"id":6709,"date":"2023-12-26T18:26:24","date_gmt":"2023-12-26T18:26:24","guid":{"rendered":"https:\/\/rsgproduction.fr\/?p=6709"},"modified":"2023-12-31T17:09:05","modified_gmt":"2023-12-31T17:09:05","slug":"les-colons","status":"publish","type":"post","link":"https:\/\/rsgproduction.fr\/?p=6709","title":{"rendered":"Les Colons"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"6709\" class=\"elementor elementor-6709\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-11ad8f1 elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"11ad8f1\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-7b391f1 exad-glass-effect-no exad-sticky-section-no\" data-id=\"7b391f1\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-65beec5 exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-spacer\" data-id=\"65beec5\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 20-03-2024 *\/\n.elementor-column .elementor-spacer-inner{height:var(--spacer-size)}.e-con{--container-widget-width:100%}.e-con-inner>.elementor-widget-spacer,.e-con>.elementor-widget-spacer{width:var(--container-widget-width,var(--spacer-size));--align-self:var(--container-widget-align-self,initial);--flex-shrink:0}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container,.e-con>.elementor-widget-spacer>.elementor-widget-container{height:100%;width:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer{height:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner{height:var(--container-widget-height,var(--spacer-size))}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty,.e-con>.elementor-widget-spacer.elementor-widget-empty{position:relative;min-height:22px;min-width:22px}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon,.e-con>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon{position:absolute;top:0;bottom:0;left:0;right:0;margin:auto;padding:0;width:22px;height:22px}<\/style>\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-f265675 elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"f265675\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-no\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-c5f9418 exad-glass-effect-no exad-sticky-section-no\" data-id=\"c5f9418\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-d83485d exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"d83485d\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 20-03-2024 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default elementor-inline-editing pen\" style=\"font-size: 24px; font-style: normal; font-weight: bold; color: #000000; line-height: 1.2em; text-align: right;\" data-elementor-setting-key=\"title\" data-pen-placeholder=\"\u00c9crivez ici...\">Les Colons<\/h2><h5>\u00a0<\/h5><h5 style=\"text-align: right;\">Los Colonos (The Settlers)<\/h5><p style=\"text-align: right;\">2023<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-207dee7 exad-glass-effect-no exad-sticky-section-no\" data-id=\"207dee7\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c9ca946 elementor-widget__width-initial exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"c9ca946\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><span style=\"font-style: inherit; font-weight: inherit; letter-spacing: 0px; text-align: justify;\"><img fetchpriority=\"high\" decoding=\"async\" class=\"alignnone wp-image-6714 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2023\/12\/2023_12_25_Les-Colons.jpg\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2023\/12\/2023_12_25_Les-Colons.jpg 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2023\/12\/2023_12_25_Les-Colons-300x155.jpg 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2023\/12\/2023_12_25_Les-Colons-1024x529.jpg 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2023\/12\/2023_12_25_Les-Colons-768x397.jpg 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-390b3ee elementor-section-boxed elementor-section-height-default elementor-section-height-default wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"390b3ee\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-69fe0cf exad-glass-effect-no exad-sticky-section-no\" data-id=\"69fe0cf\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-b179872 exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"b179872\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p style=\"text-align: center;\">FR\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0EN<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c40b310 e-transform exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-html\" data-id=\"c40b310\" data-element_type=\"widget\" data-settings=\"{&quot;_transform_scale_effect_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:0.9,&quot;sizes&quot;:[]},&quot;_transform_scale_effect&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:0.8,&quot;sizes&quot;:[]},&quot;_transform_scale_effect_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;_transform_scale_effect_mobile_extra&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]}}\" data-widget_type=\"html.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\r\n<input id=\"content_switcher\" class=\"toggle_switch toggle_switch-ios\" type=\"checkbox\" \/> \r\n<label class=\"toggle_switch-button\" tabindex=\"0\" for=\"content_switcher\"><\/label>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a3a5f05 elementor-widget__width-initial exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"a3a5f05\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">\u00a0<\/div><div dir=\"auto\">\u201cL\u2019imaginaire national\u201d est un construit d\u00e9limit\u00e9 par des fronti\u00e8res physiques ou morales parfois abstraites et con\u00e7u par un processus historique plus ou moins long. En Am\u00e9rique latine il fut ainsi bien plus court qu\u2019en Europe menant notamment \u00e0 un effacement forc\u00e9 de certaines pages de l\u2019Histoire et la construction de nations sur le sang et le mensonge.<\/div><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">Telle est la toile de fond de ce western chilien qui nous emm\u00e8ne aux confins du continent latino-am\u00e9ricain, la Terre de Feu, \u00e0 la fronti\u00e8re entre le Chili et l\u2019Argentine \u00e0 l\u2019aube du XXe si\u00e8cle o\u00f9 un grand propri\u00e9taire terrien blanc confie pour mission \u00e0 trois de ses employ\u00e9s d\u2019ouvrir une route, de ses terres \u00e0 l\u2019oc\u00e9an Atlantique. Entendez par-l\u00e0, vider ses terres des populations autochtones pour le passage de son \u00e9levage et faire fructifier son commerce de la laine. Trois cavaliers partent alors pour un rude p\u00e9riple : un ex-officier britannique, un mercenaire texan, et un m\u00e9tis Mapuche. S\u2019ensuivent les traques, les meurtres, les viols, le doute et le d\u00e9go\u00fbt puis un Etat chilien bien lointain venu consolider ses jeunes fondations nationales.<\/div><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">Pr\u00e9sent\u00e9 \u00e0 Cannes (Un certain regard) et Prix de la critique internationale, ce film nous embarque dans une fiction autour de personnages historiques comme le Pr\u00e9sident Montt ou le richissime Jos\u00e9 Men\u00e9ndez, Roi de la Patagonie, rest\u00e9 dans l\u2019Histoire comme l\u2019artisan du d\u00e9veloppement \u00e9conomique de cette r\u00e9gion. Une Histoire officielle chilienne qui fait table rase du g\u00e9nocide des Indiens Selk\u2019nam (appel\u00e9s Onas par les Blancs) qui peuplaient et exploitaient ces terres avant qu\u2019elles ne soient privatis\u00e9es. Le film se divise ainsi en deux parties, l\u2019une tr\u00e8s western et l\u2019autre plus politique. La premi\u00e8re reprend les notions de fronti\u00e8re et de conqu\u00eate ch\u00e8res au genre du western en commen\u00e7ant par d\u00e9limiter le territoire \u2013 en cl\u00f4turant d\u2019immenses parcelles \u00e0 travers des espaces battus par les vents qui s\u2019\u00e9tendent \u00e0 perte de vue \u2013 avant de le s\u00e9curiser et de le nettoyer. Quand la seconde \u00e9claire la manipulation des faits en montrant une soci\u00e9t\u00e9 qui in fine parvient \u00e0 s\u2019arranger avec tous les massacres et sauvageries au nom d\u2019une suppos\u00e9e civilisation.<\/div><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">Quand on entend \u00ab Les Colons \u00bb, on pense in\u00e9vitablement aux conquistadors et aux vagues d\u2019Europ\u00e9ens venues s\u2019installer sur le Nouveau Continent et imposer leur mod\u00e8le de civilisation au m\u00e9pris des peuples indig\u00e8nes. Or, ici l\u2019histoire se situe en 1901, lesdits \u2018colons\u2019 sont donc d\u00e9j\u00e0 des citoyens chiliens et non plus des Europ\u00e9ens. Le film confronte donc son pays \u00e0 son pass\u00e9 douloureux en mettant en sc\u00e8ne des Chiliens comme colons sur leurs propres terres. \u2018Tuer des sauvages au nom du d\u00e9veloppement des terres\u2019 dans le contexte des accords avec le peuple Mapuche, tel est le r\u00e9cit de colonisation post-coloniale que raconte le film comme une blessure encore ouverte \u00e0 l\u2019image du personnage qui change de nom refoulant son pass\u00e9. \u00ab Les Colons \u00bb interroge ainsi : comment la barbarie se r\u00e9p\u00e8te-elle ? Comment une jeune nation se construit-elle ? Que se passe-t-il quand on efface volontairement une page de son histoire ? Et si cela vaut pour l\u2019extermination des Selk\u2019nam, cela vaut aussi aujourd\u2019hui pour la dictature post 1973 \u2026<\/div><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">Et toutes ces questions et les interrogations sur les personnages, le contexte ou l\u2019intrigue en elle-m\u00eame, le film laisse le spectateur se les poser lui-m\u00eame dans une forme de narration presque indirecte faite de sous-entendus o\u00f9 l\u2019objectif est \u00e0 la fois tr\u00e8s large et presque vague. Il dit peu explicitement mais montre beaucoup avec une prise de distance rendant l\u2019ensemble assez brut et sec mais invitant par la suite \u00e0 la r\u00e9flexion. Pour son premier long-m\u00e9trage, Felipe G\u00e1lvez Haberle r\u00e9alise un tr\u00e8s beau film rugueux o\u00f9 la barbarie est mise en sc\u00e8ne avec mesure \u00e0 l\u2019image du tr\u00e8s fort dernier plan. La photographie de Simone D\u2019Arcangelo vient illuminer les immensit\u00e9s grandioses de ces territoires recul\u00e9s dans un cadre 4\/3 rappelant les films de l\u2019\u00e9poque quand la musique de Harry Allouche fait vibrer ces paysages annon\u00e7ant imm\u00e9diatement la brutalit\u00e9 des personnages avec ses percussions et ses contrebasses. Un film ambitieux donc, qui utilise le langage cin\u00e9matographique pour symboliser son message avec une couleur rouge sang comme leitmotiv, du titre du film et des chapitres au g\u00e9n\u00e9rique de fin instructif en passant par la veste du lieutenant.<\/div><div dir=\"auto\">\u00a0<\/div><div dir=\"auto\">Rapha\u00ebl Sallenave<\/div><\/div>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-42480e6 elementor-widget__width-initial exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"42480e6\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div dir=\"auto\">\u00a0<\/div><div dir=\"auto\"><span class=\"x193iq5w xeuugli x13faqbe x1vvkbs x1xmvt09 x1lliihq x1s928wv xhkezso x1gmr53x x1cpjm7i x1fgarty x1943h6x xudqn12 x3x7a5m x6prxxf xvq8zen xo1l8bm xzsf02u x1yc453h\" dir=\"auto\">{English below &amp; Espa\u00f1ol al final}<\/span><\/div><div dir=\"auto\">\u00a0<\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">\u2018Imagined national communities\u2019 are a construct delimited by physical or moral borders, sometimes abstract, and conceived through a historical process of varying length. In Latin America, this process was much shorter than in Europe, leading to the forced erasure of some chapters of history and the forging of nations on the basis of blood and lies.<\/div><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">Such is the backdrop to this Chilean western, which takes us to the farthest reaches of the Latin American continent, Tierra del Fuego, on the border between Chile and Argentina at the dawn of the 20th century, where a wealthy white landowner assigns three of his men to open up a path from his land to the Atlantic Ocean. In other words, to remove the native populations from his lands to make way for his cattle and wool trade. Three riders then set off on an arduous journey: a British ex-officer, a Texan mercenary and a Mapuche half-breed. What follows is hunting, murder, rape, doubt and revulsion, followed by a faraway Chilean state consolidating its fledgling national foundations.<\/div><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">Presented at Cannes (Un certain regard) and awarded the International Critics&rsquo; Prize, this film takes us on a fictional journey around historical figures such as President Montt and the wealthy Jos\u00e9 Men\u00e9ndez, King of Patagonia, who has gone down in history as the architect of the region&rsquo;s economic development. An official Chilean history that wipes out the genocide of the Selk&rsquo;nam Indians (called Onas by the whites) who inhabited and cultivated these lands before they were privatized. The film is thus divided into two parts, one very much Western-like and the other more political. The first takes up the western genre&rsquo;s cherished notions of frontier and conquest, starting with the delimitation of territory \u2013 fencing off huge plots of land across wind-beaten spaces that stretch as far as the eye can see \u2013 before securing and clearing it. While the second sheds light on the manipulation of facts, showing a society that ultimately manages to get away with all the massacres and savageries in the name of so-called civilization.<\/div><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">When we think of \u201cThe Settlers\u201d, we inevitably think of the conquistadors and the waves of Europeans who came to settle on the New Continent and impose their own civilization at the expense of the indigenous peoples. Here, however, the story is set in 1901, so the \u00ab\u00a0settlers\u00a0\u00bb are already Chilean citizens, not Europeans. The film thus confronts its country with its painful past by depicting Chileans as settlers on their own land. &lsquo;Killing savages in the name of developing the territory&rsquo;, in the context of the agreements with the Mapuche people, this is the tale of post-colonial colonization that the film unfolds like a wound still open, just like the character who changes her name, repressing her past. \u201cThe Settlers\u201d raises a number of questions: how does barbarism repeat itself? How does a young nation build itself? What happens when a chapter of history is deliberately erased? And if this applies to the extermination of the Selk&rsquo;nam, it also applies today to the post-1973 dictatorship&#8230;<\/div><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">And all these questions and interrogations about the characters, the context or the plot itself, the film lets the audience ask them themselves in an almost indirect form of narration made of innuendo, where the objective is both very broad and almost vague. It says little explicitly, but shows a great deal, with a distancing that makes the whole thing rather raw and dry, but inviting reflection afterwards. For his first feature film, Felipe G\u00e1lvez Haberle delivers a rough and beautiful film in which savagery is staged with restraint, as in the powerful final shot. Simone D&rsquo;Arcangelo&rsquo;s cinematography captures the majestic vastness of these remote territories in a 4:3 aspect ratio reminiscent of the films of the time, while Harry Allouche&rsquo;s percussive, double-bass score immediately sets the tone for the brutality of the characters. This is therefore an ambitious movie, which uses cinematographic language to symbolize its message, with the blood-red color as a leitmotif, from the title of the film and the chapters to the instructive end credits as well as the lieutenant&rsquo;s jacket.<\/div><div dir=\"auto\">\u00a0<\/div><div dir=\"auto\">Rapha\u00ebl Sallenave<\/div><div dir=\"auto\"><div dir=\"auto\">\u00a0<\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">ESPA\u00d1OL<\/div><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">\u2018Comunidades nacionales imaginadas\u2019 son una concepci\u00f3n delimitada por fronteras f\u00edsicas o morales, a veces abstractas, y forjada a trav\u00e9s de un proceso hist\u00f3rico m\u00e1s o menos largo. En Am\u00e9rica Latina, este proceso fue mucho m\u00e1s breve que en Europa, lo que condujo al borrado forzoso de ciertas p\u00e1ginas de la historia y a la creaci\u00f3n de naciones con sangre y mentiras.<\/div><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">Este es el contexto de este western chileno, que nos lleva a los confines del continente latinoamericano, Tierra del Fuego, en la frontera entre Chile y Argentina en los primeros a\u00f1os del siglo XX, donde un gran terrateniente blanco conf\u00eda a tres de sus empleados la misi\u00f3n de abrir una ruta desde sus tierras hasta el oc\u00e9ano Atl\u00e1ntico. Es decir, limpiar sus tierras de poblaci\u00f3n ind\u00edgena para poder criar ganado y obtener beneficios de su comercio de lana. As\u00ed, tres jinetes emprenden un duro viaje: un ex oficial brit\u00e1nico, un mercenario tejano y un mestizo mapuche. Les siguen acechanzas, asesinatos, violaciones, dudas y disgustos, y luego un lejano Estado chileno que viene a consolidar sus j\u00f3venes cimientos nacionales.<\/div><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">Presentada en Cannes (Un certain regard) y distinguida con el Premio de la Cr\u00edtica Internacional, esta pel\u00edcula nos lleva a un viaje de ficci\u00f3n alrededor de personajes hist\u00f3ricos como el presidente Montt y el acaudalado Jos\u00e9 Men\u00e9ndez, Rey de la Patagonia, que ha pasado a la historia como el arquitecto del desarrollo econ\u00f3mico de la regi\u00f3n. Una historia oficial chilena que borra el genocidio de los indios selk&rsquo;nam (llamados onas por los blancos) que poblaron y explotaron estas tierras antes de que fueran privatizadas. La pel\u00edcula se divide entonces en dos partes, una de car\u00e1cter muy western y otra m\u00e1s pol\u00edtica. La primera retoma las nociones de frontera y conquista propias del g\u00e9nero del Oeste, empezando por la demarcaci\u00f3n del territorio \u2013 vallando enormes parcelas de tierra a trav\u00e9s de espacios azotados por el viento que se extienden hasta donde alcanza la vista \u2013 antes de asegurarlo y desbrozarlo. La segunda arroja luz sobre la manipulaci\u00f3n de los hechos al mostrar a una sociedad que, en \u00faltima instancia, consigue asimilar todas las masacres y salvajadas en nombre de una supuesta civilizaci\u00f3n.<\/div><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">Cuando o\u00edmos \u201cLos colonos\u201d, pensamos inevitablemente en los conquistadores y en las oleadas de europeos que llegaron para instalarse en el Nuevo Continente e imponer su modelo de civilizaci\u00f3n a los pueblos ind\u00edgenas. Pero aqu\u00ed la historia se sit\u00faa en 1901, por lo que los \u00ab\u00a0colonos\u00a0\u00bb son ya ciudadanos chilenos, no europeos. La pel\u00edcula confronta al pa\u00eds con su doloroso pasado mostrando a los chilenos como colonos en su propia tierra. Matar salvajes en nombre del desarrollo de la tierra\u00a0\u00bb, en el contexto de los acuerdos con el pueblo mapuche, es la historia de la colonizaci\u00f3n poscolonial que la pel\u00edcula relata como una herida a\u00fan abierta, en la imagen del personaje que cambia de nombre, reprimiendo su pasado. Entonces \u201cLos Colonos\u201d se pregunta: \u00bfc\u00f3mo se repite la barbarie? \u00bfC\u00f3mo se construye una joven naci\u00f3n? \u00bfQu\u00e9 ocurre cuando se borra deliberadamente una p\u00e1gina de su historia? Y si esto se aplica al exterminio de los Selk&rsquo;nam, tambi\u00e9n se aplica hoy a la dictadura posterior a 1973&#8230;<\/div><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">Y todas estas preguntas e cuestionamientos sobre los personajes, el contexto o la propia trama, la pel\u00edcula deja que el espectador se las haga en una forma de narraci\u00f3n casi indirecta hecha de insinuaciones donde el objetivo es a la vez muy amplio y casi vago. Dice poco expl\u00edcitamente pero muestra mucho con cierta distancia, lo que hace que el conjunto sea bastante \u00e1spero y seco pero invite a la reflexi\u00f3n posterior. Para ser su primer largometraje, Felipe G\u00e1lvez Haberle ha realizado una pel\u00edcula muy fina y \u00e1spera, en la que la barbarie se escenifica con contenci\u00f3n, como en el plano final, muy fuerte. La fotograf\u00eda de Simone D&rsquo;Arcangelo ilumina las grandiosas inmensidades de estos territorios remotos en un encuadre 4:3 que recuerda las pel\u00edculas de la \u00e9poca, mientras que la m\u00fasica de percusi\u00f3n y contrabajo de Harry Allouche anuncia inmediatamente la brutalidad de los personajes. 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elementor-widget-spacer\" data-id=\"fcb1d8b\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Les Colons Los Colonos (The Settlers) 2023 FR\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0EN \u201cL\u2019imaginaire national\u201d est un construit d\u00e9limit\u00e9 par des fronti\u00e8res physiques ou morales parfois abstraites et con\u00e7u par un processus historique plus ou moins long. En Am\u00e9rique latine il fut ainsi bien plus court qu\u2019en Europe menant notamment \u00e0 &hellip;<\/p>\n<p class=\"read-more\"> <a class=\"\" href=\"https:\/\/rsgproduction.fr\/?p=6709\"> <span class=\"screen-reader-text\">Les Colons<\/span> Lire la suite\u00a0\u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":6714,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"_acf_changed":false,"_eb_attr":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","footnotes":""},"categories":[22],"tags":[],"class_list":["post-6709","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classe-en"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts\/6709"}],"collection":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=6709"}],"version-history":[{"count":23,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts\/6709\/revisions"}],"predecessor-version":[{"id":6906,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts\/6709\/revisions\/6906"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/media\/6714"}],"wp:attachment":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6709"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6709"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6709"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}