Marilú Mallet
2021She went into exile in Canada in the 1970s, as did Angelina Vasquez in Finland and Valeria Sarmiento in France.
She is one of the first female Chilean filmmakers, producing much of her work in exile.
Journal inachevé
Marilú Mallet
Nicolas Rubbo, Isabel Allende
In this heartwarming docudrama, Chilean immigrant Marilú Mallet strives to make a film about her experience of deep isolation. Her English-speaking husband, a prominent film director, criticizes her subjective approach to filmmaking; her young son, raised in Quebec, speaks only French. Interviews with Isabel Allende and other Chilean exiles reveal a deep bond in this powerful and resonant film about language and genre, exile and immigration.
Unfinished Diary
No hay olvido
Marilú Mallet, Jorge Fajardo
Enrique Sandoval, Manuel Aranguiz
No hay olvido, composed of three parts, each directed by a young Chilean filmmaker forced to flee his country, is about the difficult condition of exiles in a specific political and social context, in this case, Quebec. The first part, entitled J'explique certaines choses, is in Spanish with French subtitles, and shows us more precisely the lifestyle of a group of Chileans. In Slowly, which forms the second part, we are asked, through Lucia, a young Chilean exile, the problem of integration into a new social environment. Finally, Jours de fer (Steel Blues), the third and only part available in English, is a cruel reminder of the harsh condition of the uprooted man who must find work at all costs to ensure his survival.
There is no forgetting
Amuhuelai-mi - Ya no te iras
Marilú Mallet
An early film by Marilú Mallet (as Maria Luisa Mallet) created for the Education Ministry's Department of Culture under Salvador Allende's Popular Unity government. The film combines images with intertitles that present the disparity in land distribution, economic opportunity, and civil rights between the indigenous Mapuche people and Chilean Whites/Mestizos. - KG
Amuhuelai-mi - Ya no te iras
