In 2004 the brothers Juan de Dios and Pablo Larraín (1976) create the Company “Fábula”. That year, the Southern film production is very symptomatic: on one hand, the recount of the damages caused by the 1973 coup d’état (Machuca by Andrés Wood and Salvador Allende by Patricio Guzmán), and on the other, the bets on a more popular cinema. That year two generations coincide, the one of Patricio Guzmán (1941) and Silvio Caiozzi (1944), which is enriched by new appereances like the one of Andres Wood (1965).
When the Larraín brothers produce Fuga (2005), -Juan de Dios in the production and Pablo in the direction- it can be affirmed that a new generation emerged; a generation that faces the difficult conditions of the Chilean and Latin-American cinemas in particular. Each cinematography goes under complex processes in order to consolidate an audience and build an apparatus that allows it to cross borders.
Until 2000, the best-known part of Chilean cinema is that which protrays its immediate past, in particular, the individual or collective processes that get fractured from that September of 1973. The commercial cinema, dedicated to a hypothetical mass audience, it is confined to the local specificities. The strategies of Fábula have two key moments: the success of Tony Manero (protagonist at Cannes) whose resonance allows them to start a complicated project: Postmortem, an austere protrait of the foreign who practices the autopsy on Salvador Allende, whose death is the subject of a heated debate.
In FICG’s 26th edition, the Chilean cinema sweeps the Mayahuels: Postmortem receives the award as best fiction feature and Nostalgia de la luz obtains recognition in the documentary. The tenth production of Fábula is already part of the history of our cinematographies: No is the description of the campaign led by Pinochet’s opposition in order to impede his re-election. No stands out for its Oscar nomination in the best foreign film category. For the first time the Chilean cinema is present at the great Hollywood celebration.
If a Chilean had said in 2004 that they were going to shoot a movie about Kennedy’s murder in Washington, with a cast ran by several of its bes North American actors, they would have only caused ironic smiles. The intimate epic of Jackie confirms that our filmmakers are not condemned to the limits of the small village. In 15 years Fábula has succeeded in creating a history worthy of its name.