Journal inachevé

Marilú Mallet began making films in Allende’s Chile before her eventual exile in Canada. Like Valeria Sarmiento, she chose not to return after democracy was restored. Yet both women came back for short periods to create film projects about their country. And both asked themselves more-or-less explicitly what it means to be a woman filmmaker, formulating their film projects in partial response to that question. JOURNAL INACHEVÉ emerged from correspondence between Mallet and Sarmiento that was to form part of what remained an uncompleted project—although Sarmiento did shoot a now-lost first letter. Mallet was inspired to reformulate this idea into the film we see today, which merges the epistolary genre and letter writing, the means of communication par excellence of the exiled, into a first-person diary of life that questions the triple bind of being a woman, an exile and a filmmaker.
With sprinklings of fiction, Mallet is both a character and a director here, revealing her own approach to documentary representation. Focusing on her experience as a Chilean in Canada, this diary is a mise-en-scène of the uprooting and memories of an imagined country. How to write about what has not been seen, about what is lost? (Dominga Sotomayor)

With POPSICLES and FRAGMENTOS DE UN DIARIO INACABADO.

Marilú Mallet: IL N’Y A PAS D’OUBLI (1975, KO-REGIE), LENTEMENT (1975, K), LES BORGES (1978), MÉMOIRES D’UNE ENFANT DES ANDES (1985), CHILD OF THE ANDES (1988), CHÈRE AMÉRIQUE (1990), 2 RUE DE LA MÉMOIRE (1995, K), DOUBLE PORTRAIT (2000, K), LA CUECA SOLA (2003), CHERS NONAGÉNAIRES (2009), SUR LES TRACES DE MAGUERITE YOURCEMAR (2011), AU PAYS DE LA MURAILLE ENNEIGÉE (2016)