{"id":51860,"date":"2021-07-08T22:08:20","date_gmt":"2021-07-08T22:08:20","guid":{"rendered":"https:\/\/ucm.one\/?page_id=51860"},"modified":"2023-08-04T22:23:19","modified_gmt":"2023-08-04T22:23:19","slug":"los-reyes","status":"publish","type":"page","link":"https:\/\/ucm.one\/en\/los-reyes\/","title":{"rendered":"Los Reyes (2018) by Bettina Perut & Iv\u00e1n Osnovikoff | NONFY Documentaries"},"content":{"rendered":"

[vc_row][vc_column width=”3\/4″ css=”.vc_custom_1561291995466{padding-right: 30px !important;}”][vc_column_text]<\/p>\n

Los Reyes<\/h1>\n

[\/vc_column_text][vc_column_text]Los Reyes<\/strong> (english: “The Kings<\/strong>“) is the oldest skate park in the Chilean capital Santiago. But this movie is not primarily about the skaters, but about the real kings in this mircocosm: Football and Chola, two unseparable stray dogs that have found a home in the park between speeding skateboards and noisy teenagers.[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″ css=”.vc_custom_1561290391124{border-right-width: -15px !important;}”][vc_single_image image=”51877″ img_size=”full” onclick=”link_image”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”51886″ img_size=”full” onclick=”link_image”][\/vc_column_inner][\/vc_row_inner][vc_column_text]The younger and livelier Chola loves to play with the balls that are lying around everywhere. Her favourite game consists in putting them on the edge of the bowls where the skaters show their tricks and to try to catch them just before they fall down. Football, the older of the pair, often watches her game umpatiently. He in turn is always carrying something in his mouth and finds great fun in dragging things around and gnawing them off.[\/vc_column_text][vc_column_text]The teenagers around them come from very different, sometimes troubled backgrounds. They all have their own stories and problems, which can be followed in the background in their conversations while the camera captures the subtle interaction between the two dogs as they are slumbering, chasing a ball or just mooching around.[\/vc_column_text][vc_row_inner][vc_column_inner css=”.vc_custom_1561290391124{border-right-width: -15px !important;}”][vc_single_image image=”51850″ img_size=”full” onclick=”link_image”][\/vc_column_inner][\/vc_row_inner][vc_column_text]The movie “Los Reyes<\/strong>“, released in the German-speaking territories on the film label NONFY Documentaries<\/strong> and shown through the distributor UCM.ONE<\/strong><\/span>,\u00a0is a meditative, almost fairy-tale like and at the same time very touching documentary film which tells a whole world through the observation of two dogs.<\/span>[\/vc_column_text][vc_column_text]<\/p>\n

About the directors by<\/b><\/span>\u00a0Iv\u00e1n Pinto (La Fuga):<\/h3>\n

Since its inception, the documentary work by Bettina Perut<\/strong> and Iv\u00e1n Osnovikoff<\/strong> has stood out for the risk and creativity in its themes, treatments and points of view. With seven 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 meant by documentary filmmaking. Their work has gone from a very physical and gestural first record linked to the lightening of the cameras and the voyeur drive present in films such as “Martin Vargas from Chile<\/strong>” (2000) or “A Man Aside<\/strong>” (2002), which in turn emphasized the performative dimension of its protagonists (the boxer Mart\u00edn Vargas<\/strong> in the first, and a fantasist manager in the second); towards a visual stylization that began with the exercise of \u201cinverted ethnography\u201d<\/em> “Welcome to New York<\/strong>” (2006), found a hinge in the ethical exploration of the field (and its limits) in “News<\/strong>” (2009); and reaches a climax in his last work “Surire<\/strong>” (2015), a documentary about a salar in the highlands where landscape, nature, animals and humans are observed from a glance that combines the sensory with the materiality.<\/span>[\/vc_column_text][vc_row_inner][vc_column_inner width=”1\/2″ css=”.vc_custom_1561290391124{border-right-width: -15px !important;}”][vc_single_image image=”51898″ img_size=”full” onclick=”link_image”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_single_image image=”51895″ img_size=”full” onclick=”link_image”][\/vc_column_inner][\/vc_row_inner][vc_column_text]Before conclusions, the documentaries of Perut + Osnovikoff<\/strong> raise questions; they interrogate the limits and the common senses. This is the case, for example, of its two entries around the social memory, on the one hand the “Clever Monkey Pinochet versus La Moneda\u2019s Pigs<\/strong>” (2004), where groups of school children represent the military coup through acting improvisations where the game is combined with the parody, speaking of a conflicting present that inhabits the bodies, an issue that they emphasized even more in “The Death of Pinochet<\/strong>” (2011), a \u201csocial fresco\u201d<\/em> around the day of Pinochet\u2019s death that established the body as a horizon of ultimate sense where the public performance of politics is established (in their passions, exhaustion and decay). Although their work has been discussed and even marginalized from some circuits, their proposal has only grown and opened up new avenues, including documentary cinema as a plastic and social exploration.[\/vc_column_text][vc_row_inner][vc_column_inner css=”.vc_custom_1561290391124{border-right-width: -15px !important;}”][vc_single_image image=”51832″ img_size=”full” onclick=”link_image”][\/vc_column_inner][\/vc_row_inner][\/vc_column][vc_column width=”1\/4″ css=”.vc_custom_1561286315715{margin-top: 15px !important;background-color: #efefef !important;}”]