Trauma, Male Fantasies, and Cultural Capital in the Films of Pablo Larraín

Abstract

This paper explores the visualization and intersection of trauma, male fantasies, and cultural capital in the first four feature-length films of Chilean director Pablo Larraín: Fuga (2006), Tony Manero (2008), Post Mortem (2010), and No (2012). Larraín’s first feature sketches out these themes in individual and familial terms; the subsequent three, forming what Larraín has called an ‘unintentional trilogy’ of the Pinochet dictatorship, visualize them in a more collective, historical, and political register. Categorizing these films as examples of ‘posttraumatic cinema,’ I demonstrate how Larraín images the fantasy scenarios that structure Chile’s ‘true horror’: namely, the weaponization of male fantasies and of cultural capital – the combination of which induced indelible traumas during the dictatorship. The attendant institutionalization of injustice, impunity, and neoliberalism – which, as Larraín shows, was conserved during the country’s transition to democracy – has limited the possibilities of working through the recurring traumas ever since.