[ Honors 336 ]
El chacotero sentimental: la película [The Sentimental Teaser],
(Chile, Cristián Galáz, 2001)

Cast: Tamara Acosta .... Mía
Héctor Aguilar .... Tigre
Emiliana Araya .... Alicia adolescente
Roberto Artiagoitía .... Rumpi
Patricio Bunster .... Don Octavio
Claudia Celedón .... María
Patricio del Canto .... Loco Eric
Clara María Escobar .... Mamá de Juan
Marcela Espinoza .... Marlene
Fernando Farías .... Papá de Juan
Fernando Gallardo .... Kioskero
Mateo Iribarren .... Papá
Pablo Macaya .... Johnny
Hugo Medina .... Loro
Daniel Muñoz .... Juan
Myriam Palacios .... Tía Lastenia
Lorene Prieto .... Claudia
Anita Reeves .... Mamá
Patricia Rivadeneira .... Alicia
Ximena Rivas .... Carmen
Camila Rojas .... Carmen niña
Martín Salinas .... Pulga
Sergio Schmied .... Marido
Alejandro Trejo .... Richard
Mireya Véliz .... Tota
Felipe Vera .... Pipe
Pedro Vicuña .... Cartero.
Director: Cristián Galáz
Length: 87 minutes
Sound: Dólby digital
Country: Chile
Director: Cristián Galáz
Language: Spanish
Color: Color & black & white
Sound: Dólby digital
Script: Mateo Iribarren
Photography: Antonio Farías
Editing: Soledad Salfate
Sound Director: David Cuerpo
Artistic Director: Cristián Galáz
Postproduction Sound: Cebra Producciones
Music: Carlos Cabezas
Executive Producer: Roberto Artiagoitía & Alejandro Castillo
Questions of analysis:
1. Is El chacotero sentimental: la película one or three films? Defend your answer.
2. Are the stories connected? How?
3. After watching the section “Patas negras” with what kind of film genre would you line up the film?
4. Does your impression change after watching “Secretos”? To what genre would you assign it?
5. Of the three stories, the third one differs greatly from the other three? What do you think of the order in which they are delivered to the audience?
6. Discuss the film’s ideology.
7. Explain how is focalization used and its relevance in a film that relies in a non-visual means, a radio, as a frame of reference.
8. Give examples of how the audience shares the voyeurism of the little girl in “Secrets” How does the director share her focalization?
9. Explain how does the director uses photography, mise en scène, sound and movement to deliver the main theme in “Secrets.”
10. What cultural codes does the audience need to know to understand this film.
11. Is this a Chilean film? Consider the historical moment when answering this question.
12. What stands out more, the movie’s message or the cinematographic techniques?
13. Draw a diagram of the film’s plot (structure).
14. Explain how the director uses photography and mise en scène to characterize The Chacotero Sentimental.
15. Elaborate about the Chacotero’s dramatic role. Can you conceive the film without his character?
16. Discuss the symbolism associated with the section Todo es cancha”
17. What is the film’s position on extramarital affairs? Defend your answer.
18. Did you like the film? Expand your answer.