Manuela is exploiting cinematic language: color, light and sound, to create a kind of beautiful paranoia. The music has analogue synthesiser style plomp plomp plomp drum beats. It has Hitchcockian shots, like the reflections of eyes in rear view mirrors, and follows the master’s rule that “the bomb should not actually go off” to the nth degree. A series of situations where our heroine thinks she’s been caught but in fact hasn’t, not yet, or not at all. Maybe it’s not true that everyone in your life is out to get you, but the chance that one of them is is greater than zero. So, what’s the point? Maybe the point is just to make a record of the paranoia under Pinochet, and it doesn’t seem to go much deeper than that.
Manuela is exploiting cinematic language: color, light and sound, to create a kind of beautiful paranoia. The music has analogue synthesiser style plomp plomp plomp drum beats. It has Hitchcockian shots, like the reflections of eyes in rear view mirrors, and follows the master’s rule that “the bomb should not actually go off” to the nth degree. A series of situations where our heroine thinks she’s been caught but in fact hasn’t, not yet, or not at all. Maybe it’s not true that everyone in your life is out to get you, but the chance that one of them is is greater than zero. So, what’s the point? Maybe the point is just to make a record of the paranoia under Pinochet, and it doesn’t seem to go much deeper than that.
