<![CDATA[<i>]]>Tire dié<![CDATA[</i>]]> exemplifies the attempt to democratize the documentary form by giving voice and image to sectors of a culture which had previously been ignored and suppressed. Given the film's obvious commitment to direct visual and verbal address, the intervention of the anonymous male and female mediator/narrators is unexpected and disconcerting. Investigation into the film's mode of production reveals that this expedient derives not from prior design but from deficiencies in the original sound recording. <![CDATA[<i>]]>Tire dié<![CDATA[</i>]]> sought to give the effect of synchronous sound without the technical facilities to do so. The over-dubbing of social actors by professional actors is the central—but not the sole—contradiction of this social document: it brands a seminal attempt to democratize documentary discourse with the unwanted but unavoidable stamp of residual authoritarian anonymity, just as the intricate patterns of editing call assumptions of transparent realism into question. In its contradictions, as well as in its achievements, Tire dié stands as a landmark of Latin American social documentary. (Julianne Burton)
Will be screened together with <filmlink id=\"2591\">Chircales</filmlink> and <filmlink id=\"2589\">Ilha das flores</filmlink>.
- Guillermo Cervantes Luro
- María Rosa Gallo
- Francisco Petrone