“We humans are capable of greatness,” reads the first line in Cristóbal León and Joaquín Cociña’s The Hyperboreans as the narrator’s voice beams from an old TV set. On the screen, a hypno wheel spins and spins; the voice speaks of evolution and “the energetic charge of ancestral blood.” These ominous themes already suggest that the Chilean stop-motion animator / filmmaker duo continue to explore religious symbolism and the ritualistic nature of their Latin American heritage. Before premiering The Hyperboreans in this year’s Cannes Directors’ Fortnight selection, their 2021 short The Bones was awarded the Orizzonti Award for Best Short Film in Venice and proposed a fictionalized legacy to address colonial trauma. Now, their second feature (after 2018’s The Wolf House) continues to mix fact and fiction as a means to allegorize the past.
The scene cuts from a TV screen to a pristine, overhead wide shot of a film set.
The scene cuts from a TV screen to a pristine, overhead wide shot of a film set.
- 5/22/2024
- by Savina Petkova
- The Film Stage
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