La femme au foyer

  • 23'
  • France
  • 1975

A woman of right-wing convictions spends her days at home with her maid. Outside, a putsch is in the making. An extremely sharp vision of the bourgeoisie's hostility to the Unidad Popular, as well as a scathing vision of women unthinkingly acting out their roles as prescribed by the patriarchal mindset. No men around. They do it on their own.

– Olaf Möller

Director
Valeria Sarmiento
Country of production
France
Year
1975
Festival Edition
IFFR 2024
Length
23'
Medium
Digital
Original title
La dueña de casa
Language
Spanish
Production Company
Le GREC
Sales
Le GREC
Screenplay
Valeria Sarmiento, Raúl Ruiz
Cinematography
Adrian Cooper
Editor
Valeria Sarmiento
Sound Design
Luis Mora
Cast
Carla Cristi, Alejandra Elseser, Isabel Huizi, Sady Ramirez
Director
Valeria Sarmiento
Country of production
France
Year
1975
Festival Edition
IFFR 2024
Length
23'
Medium
Digital
Original title
La dueña de casa
Language
Spanish
Production Company
Le GREC
Sales
Le GREC
Screenplay
Valeria Sarmiento, Raúl Ruiz
Cinematography
Adrian Cooper
Editor
Valeria Sarmiento
Sound Design
Luis Mora
Cast
Carla Cristi, Alejandra Elseser, Isabel Huizi, Sady Ramirez

Programme IFFR 2024

Focus: Chile in the Heart

After the coup against the democratically elected government of Chile and the murder of the nation’s president, Salvador Allende, on September 11th 1973, masses of Chileans fled the country for unknown futures far away. In 1974, spearheaded by works like Sergio Castilla’s Pinochet: fascista, asesino, traidor, agente del imperialismo and Raúl Ruiz’s Dialogue d’exilés, a historically unique phenomenon started to take shape: a Chilean cinema in exile. The vast majority of Chile’s film culture had left and were now living spread across different nations, this included already established auteurs like Patricio Guzmán (The Battle Of Chile (Part 1): The Insurrection of the Bourgeoisie), Miguel Littin (Actas de Marusia) and Helvio Soto (La triple muerte del tercer personaje) as well as film students like Sebastián Alarcón (Night Over Chile), Leo Mendoza (Reír o no reír) or Luis Mora (Night of the Captain). Remarkably enough, the resulting production forms a coherent whole: it continues the Chilean cinema of the Unidad Popular, and protests against the fascism at home – while often presenting Chile as but an example for the forms of oppression and terrorism found all over the world. In an age where ever more filmmakers are forced into exile and whole communities are violently displaced, IFFR presents a grand overview of the phenomenon on the occasion of its 50th anniversary. We’ll present some twenty-five features and shorts covering the first decade of production in exile, mixing established classics with shorts and television works hardly seen since their original presentation.

 

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