Two prisoners of Pinochet’s secret police (a teacher and a writer) who manage to escape from their execution are welcomed by a poor circus, becoming clowns. Between circus cuecas, rancheras and the insistence persecution of the dictatorship, they rearm a life with relationships, conflicts, affections and joys of a family and a life “almost” normal.
“Although poor circuses lead a terrible life, they have an impressive vitality and optimism. A capacity to continue existing, inventing numbers, trying to travel, looking for permits, fighting with the bureaucracy of the municipalities, etc.
In houses with just a stove in the middle, drinking tea and eating bread, full of little children with snot hanging, in the middle of winter, they see everything from an optimistic view, and they do not complain about the sacrifice. The world of needs has always caught my attention, not the world of freedom. That world where people live tight, in an epic fight for life. In that sense, the circus people are an example of remarkable life. ”
Screenwriter and Film Director
He started as a documentary filmmaker, with “Fists in Front of the Barrel”, on the history of the national labor movement. He was an assistant to Patricio Guzmán in the filming of the documentary “The First Year” and participated in the Chile films workshops.
He made himself known in the cinematographic medium, in Federal Germany, where he made two fiction feature films: “The Pass” (1978) and “The Colony” (1985). The first one dramatizes the escape attempt through a mountain pass of a trio of militants of the unity militants of the popular unity. The second addresses the role played in repressive work by the German enclave Colonia Dignidad. He was a professor of Latin American cinema at the Free University of Berlin, developed various screenplays for cinema, some of which were awarded by the German government.
He filmed documentaries for German television: “Chile, the necessary culture”, “Isabel Allende”, “Chile, where pain begins”. In 1998, he worked as a professor at the International Film School in San Antonio de los Baños, Cuba, and in 1999, he made for ARTE (Germany-France) the documentary short film “Chile, the Open Wound” on the Pinochet case.
In 2000, and back in Chile, Lübbert wrote and directed the feature film “Taxi for Three”, which won more than thirty awards for direction and script, including the Golden Shell for Best Film at the San Sebastián International Festival, Spain, the highest distinction received by Chilean Cinema.
In 2009, he wrote the book “Script for a Possible Cinema” and was director of the Film School at the University of Chile, where he is currently a teacher.
“I believe that there is a thematic anemia in Chilean cinema. There are many great themes that move the country, for example, early pregnancy, child abuse, but very few films are related to it. For me, the cinema that has a future in Chile is the cinema that identifies itself, a cinema where people see themselves reflected and represented, in their modes and in their ways. Today, in Chilean cinema, worlds are narrated that are not truly relevant, and dramatically poorly treated. I think that better cinema could be made, because the country is full of remarkable and wonderful ideas and characters, and the task of intellectuals and filmmakers is to end there and have a different perspective. In a fenced and segregated country, the bars we see on the streets are on our heads too. Then it is time for cinema to be made giving account of other worlds, other than their own.” The Clinic Oct 2014